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THE  QUARTERLY 


MUSICAL 


MAGAZINE  AND  REVIEW. 


VOL.  ni. 


LONDON: 
■OLD  BT  BALDWIK,  CRAOOCR,  AND  JOY, 
47,  FATIiUflinn-&oiT. 


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CONTENTS 


I.  fllmTCAL  Btuoeht.  CO-  3  

I[.  On  the  Orijzin  nl  the  Scotch  Music  . 

LU.  On  Kteliiai  

tV.  On  Ihi^  r^nt  OfiitoriM  ■ 

V.  Element'  of  Vocal  Science    34 

VI.  On  tlieAcquirenieiitofaPerfectTaite  ia  Muiie    34 

VTr.  O.I  the  f>>n.lriiin5n  of  Dueti  for  VoLcea   Sfl 

YJU.  M.  S.  W»rk  „r  ymncwro  Bianclii    48 

IX..  M\3S  Stephens   58 

X.  Citj  Concerts  ■■■■■■  ■■■■■  ■■■■■   05 

XI.  An  Adtlreat  tothe  yiiilhajinonic  Snciely.  on  the  following  anb- 

jecH:  — 1.  On  Mmical  Edncalion— 9.  On  the  generafsiate 
of  Muiicjl  •[•»ste  and  Knowledge  in  Ihia  Uounlry.— 3.  On  the 
Study  of  Music  in  Score. — i.  Oa  n  Wnrit  noir  in  the  coume  of 
Publication,  entitled  Vocal  Mopatinaa,  Ikc.  and  on  a  system  of 
Education  connected  with  that  Publication  ;  to  which  ia  pre- 
fixed a  Proem,  explanatory  of  tFie  Ad.In^ss.  ByT.D.  WoTffui, 
PV^'S^r  orMiTiTc.    liJnJon.    Wilson,   ■..  71 

XII.  An  Ajiology  for  a  Publication  entiOed  Vocal  Sonntinas    73 

Xlil.  Ono  Uuct  and  SU  Uallada,  with  an  Acrompjiiiineiit  for  the 

Piano  Forte  ;  mmpoaed  by  Wgilcy  Doyle,  Etq.  London.  For 

the  Author.    By  tlie  Royal  Uarnionic  Institution   7S 

XIV.  Twelre  Laaons  and  Two  Aira,  «lth  VanaUona  for  the  Harp;' 
compoacd  for  yoaiiB  Scholars,  by  V.  N.  Bochsa.  Jjoudon. 
Chappeil  andTa 
I.  Foorteen  proBT^siveLcssona  and  Preludes  for  the  Harp;  com- 
posed  by  F.  C.  Meyer.    London.    For  the  Rcgeat'ii  tjar- 

monic  Institution.    SO 

XV.  Moiart's  Masses,  with  an  Accompaniment  for  the  Orffui,  ar- 
ranned  from  the  full  arore,  fay  Vincent  Wotcllo.  UrganisHo  the 

Portuguese  Embassj",  in  London.    London.    GalioH-jy   S3 

XVI.  Sonata  for  the  Piano  Forte,  with  an  Ai:  com  pan  i  men  t' for  the 
Violin  or  Flute  (ad  libitum)  ;  comjiosed  by  J.  D.  Cramer. 

London.    Uy  the  Itoyal  llarnionic  Initltation.   TTT  1Q3 

XVII.  Duo,  for  tlie  Piano  Forte  and  Violin,  by  Fred.  Kaikhrenn.r, 
■  (IJ|i.  49)  London.    Clementi  and  Co.  tJliappell  and  Co.  ....  105 

XVIir.  In  Two  Volumci,  a  Selection  of  ■inRle  and  double  Cbants,  wit"h 
with  Kyrie  EleeioDS,  Sunctnses,  Ancient  and  Modern,  in  Scorn, 
performed  at  the  priiicipil  Choirs  in  the  United  KiiiRcions;  the 
whole  collecled  and  arraugej  »ith  a  separate  Acconi])anlineiil, 
lor  Ihe  Urgan  or  Piano  Forte,  wilb  a  figured  Basa;  byjohn 
Clarke,  Muj.  Due  Caml>ridge.    Londoti.    Birchall  and  Co.  107 


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CONTENTS. 


XtX.  A  lantala.  for  T«o  Vciicps,  witli  CHoniiie^  ami  a  full  Rand; 
Hie  Wnrils  laUcu  from  MUIfHi'.<  I'^radiso  lji»t ;  fomiHWcd  by 
Fi^i;iinchHlim.     I^niloii.    For  the  Author.    IVIilfliHI.    . '  108 
XX.  I^'^Pbuirs  du  I'rinlcTnpi,  Rondo  for  thn  Piano  For(c;  com- 
pust-d  liy  M.  C.  Milson.    London.    RuLtframl  M'.Viliii^ 
]■  liilroduclion  and  Rnndo  for  Ihi;  Piano  FnHf;  fnmpot.rTby  M. 

2.  Air,  «Uti  Vorijlinnt,  for  thi-  I'iiiiio  Fnrlc ;  f  miiuosnl  by  M.  C. 

Wilson.    (0|;-  17.)    I..OHdon.    Hy  thi- ItoyBl  InslituMoii. 

3.  Suit.;  Air,         Vjiriaiioii;,  for  the  l-'iano  t'orlc  ;  rompoat'd  by 

P.  Knaplon.    Lnnilon.    Cliappell  and  Co- 

4.  Introdnrtinn and  Polonoi^i-,  for  (hp  Piano  ford-:  coinposed  hy 

■  T.  nai^li.    r^jo^oi..    CUlenliW  Co.  .110 

XXL  Purl,  for  l«o  I'Erfornicra  oil  Hie  Piano  Fortr,  on  Ihr  (avourile  ~ 

Kn  rirh  Air,  Au  cbir  dc  la  lunr;  compo^ud  by  T.  Latmir, 
Pianiilc  to  hin  ■Maj'-i-iy.    l.iO»ilon.    Ch.ippcl]  anil  Co. 
1.  |]i  I  mi  men  to.  for  luo  Ferfornim  on  one  I'iann  ^'orte.  nlth  an 

■  Arrompamnii-nt  for  tlio  FIuIp,  C;id.  lib.);  coiirppted  by  T. 

1.  A  Du^'t.  for  two  P^Tfnrini!rs  on  tht;  Piano  Forlr  :  adajilerl  from 
Itri.i^ini-'t  Oppra  of  11  liarbicre  di  Sitifilia,  by  W.  Wnm, 

3.  Pi  Tanii  Pa[|.ili ;  orrarigcd  for  tgo  Pprfornierg  on  the  Piano 

Fn.l,..  •.„  W,  IkMiiPlt.    I.f-udou,    PoMcr  77  lia 

XXII.  Tl»'  Croi.>  »r  PoiiioMj.a  urand  Srona,  ^ung  by  Mr.  Uraliam,  at  ' 
tin-  \,mM\m  Uonccrts.    The  Wonia  from  Tliom^on's  Si-mon<, 
Ihi-  Music  romnoi^cd  by  Muster  Barnott.    London.  Clfrntuti 

^t:o.   113 

XXUL  Op-ratic  Airs,  Noi.  3,     and  5.    I^ndon.    Gouldiiig  and  Co. 

CiPnienIi  and  [:o.    Uliappt-ll  and  Lj.    114 

XXIV.  TliP  Mountain  Cnt,  a  Glcc  for  three  Voices;  \ij  W.  Itichurds.  ' 
London.  Pon*r. 
1.  Tfarre  'riniga  Thrpp.  a  contirial  Glee  for  ThrgpVcirw,  with 
Chorni;  the  Words  by  W.  F.  Collard,  Ihp  MuHf  by  SirT. 
StrYtnsnn,  Mu-^  Doc.    I^iidon.    ClPmcnli^ndCo.  . .  ■ . . ."  115 
XXV.  Forarl  mo  nol.  (bo"  thus  HC  pari;  conipose<1  by  llcorge  Urns. 
~^        l^m\m.    Plillllpa  a.id  Mayli.-^ 

■  1.  Uceauao  it  looki  lilte  You;  by  Dr.  Jay.    I-ondon.  Fliiliipa 
and  .Mayhi.-.v. 

3.  The  Slirine  of  Imtc  ;  by  Dr.  Jay.    London.    Phillips  and 


■3.  The  Snow  on  Ik-da  of  KosEi;  by  Lconi  Lcr-.    Ixindon.  Phil- 

4.  Kvcry  liour  I'loi'it  Tlice  more;  by  J.  BWilt.-  London, 

■i.  Whrn  l^tp  M-a^  frfsh  from  his  Cradle  Bed.  Undon.  Power. 
e.  If  Ve  a  HiBhlind  Laddic  meet ;   by  Lponi  Lee.    1  judoii. 

Phillip'  and  Mayhow. 
7.  TheMaidArilhalore-bciminREye;  by  J.  F.indin,  Esq.  Lon- 
■        .Ion.    Fhillips  and  Mayliew.  . .  ■  ■ ....  ■ .   ■  ■ ...  ■     I  IB 

XXVI.  I  In^e  TliPB  dearly  ;  by  His  Uracc  the  Dole  of  Marlborougl'- 
London.    Cliappi'll  aod  Lo. 


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CONTENTS. 

Atr.  El 

1.  Oh!  near  for  Mr  thia  hlnymin);  Rose;  by  his  Grace  Ihc  Duke 

q[  M.irlboroiii;h.    l^imdmi.    Cliar'I'g'l  and  Co. 

2.  iiim  nlio  -igln  for  The:  liy  J.  limclin,  Jjiiidoii.  I'\)r  the 
■        Aullmr-    r-hillipi  anil  Mayfic«:  ' 

3.  If  eVr  (;ain|i3s,ian  shcLlLT  found;  by  C.  Laiiza.  Lniidatl. 
ChuapcIL  anil  CHT 

Me.  O  tle]i(^L0ua  Kiss  ;  by  G.  Xiclis.  I.jndoii.  CIl-. 
i  anil  (.'n. 

5.  'Tis  tain  ln<h-<:k  lliy  Dtnir  ftilli  Pearl'; :  liy  Jovoph  ile  Piiiiia. 

6.  Tho  iiatiiiig  look  She  gave;  by  WjUer  'I'uriihull.  Lniidon. 

fQ«Gr  ■   1 

XXVII.  Oil!  Wooda  ofGrcenErm;  by  Wch'y  Doyle,  Esq.  Loiiduii. 

1.  Oh^l^^iflhme  E^-es^  dcceLve  me  not ;  by  Sir  John  Slerciismi, 

2.  The  hi>;li-born  Woul,  lleirit.  erl  uriii ;  by  George  Perry,  of  Nor- 

Kich.    I..m.bii-    I'hiUip.  and  M:i)^i.-w. 

3.  Thou  ghite-rollio.g  Sg.i  ;  liy  Wm.  Iloiil^  Mu9.  Cac.  Oion. 

IxiniloH.    By  ihe  Itoyjllniitiluiion.   1 

XXVI  tr.  A  Musli-il  Vi..li-  .M.-runi,  being  afompF,..i;ou.|  Intro.lurllon  <o 
thi:  wlinle  iirlof  Mu.ic.  PnrI  I,  conlnininfi  Ihe  ]iriHciplea  of 
^  iioijtipn,  llie  g^iut  or  great  scale,  inlertals,  diulonic,  chronrn- 
tie,  anil  cnliarinonie  ■jralea,  keys,  and  thiir  modci,  trantpoiii- 

tioni,  kc.  by  W.  R«tb.    Loiidnii.    Keith.  ....  ....  1 

XXIX.  Grand  Mmieal  Festital,  BinniiiKbam   1 


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TO  fiORRF.aPOWDBNTS. 


We  have  received  several  aHictes  after  that  part  of  our 
Magazine  which  contains  the  correspondence  wUh  the 
Editor  was  closed  and  printed.  They  shall  however  have 
due  regard,  particularly  N.—F.  JV.  H.  and  T.  C.  C.  Nor 
is  the  hint  of  Precejitor  lost  upon  us. 

NotwUhstanding  our  endeavours  in  this  number,  we  are 
stUl  in  considerable  arrears,  but  we  promise  to  do  our 
utmost  to  acquit  ourselves  oj  ike  obligatiom  we  thus  ac- 
fcTtotoledge. 


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CONTENTS 
No.  X. 


I  .  El  E*  EN  T5_of_V  0  col  .Scion  ce_ 


II.  Rpmarks  on  In-^trameiitil  ComposCTS — fBeelbnren)   H5 

III.  Musical  Pronriolorship   151 

TVmayJn'i  Ca»imie»  ■  ■■   155 

V.  On  tlie  Means  iif  gmng  an ~Opeia  In  Hic  English    157 

VI.  On  the  Philosophy  of  MuiicarComposilion,  No.  4  ~TB3 

VIX.  Chlitdiii's  Life  and  Traile  d'Acouslinue   170 

VIII.  On  the  Construclian  of  Operas   ..■    177 


X.  Pnilniody 

i.  Sici^McLodicj.— A  Collgcllon  of  Fill  ma  ami  Hyiiin|i,  com- 
poaed,  M-lected,  and  adapted  for  U'"ne  WorBhip,  hy  "i'liomas 
BiMinett,  Omanirt  of  the  CnUhcdntl  Chnrch,  and  tlic  Chapel 
of  St.  John  the  Eranaeliit.  Chichestpr. 
■a.  ATSiieetion  of  Old  and  Neir  Tralm  Tones,  with  Figures  for 
■  the  me  of  those  who  hare  studLed  Thorough  [lass;  coiilain- 
inp,  aniong  olheri,  Ihoie  which  are  sung  at  Si.  Jamea'i,Weat- 
imtisler;  wlected  and  coijiposcd  by  J.  I''.  Uurrowes. 

3.  NalioiiBl  I'Mlmody.— A  Collcclion  of  Tunes,  irith  appropriate 

SymphpnlM,  agt  to  a  Course  of  Psalms,  selected  froin  the 
Hew  Version  by  the  Kev.  J.  T.  Barrcll,  M,  A,  for  the  se7^ 
Viceaof  the  United  Churches  of  Knulanq  and  Ireland;  nppll- 
■  cable  to  the  prO|MT  )..e.iMinB,  Kpisllca,  and  Ciosi:tls.- — The 
Knsic  harmoniied,  afranged,  and  adapted  by  li.  Jacob ; 
with  orieinal  Compoaitions  by  him,  aiid  scTcral  of  the  most 
pmincnt  Professors.  To  which  are  add>:il.  Chania  for  the 
Tc  Dcuni,  Jubilate,  and  other  parts  of  Ihe  Morning  and 
Eiening  Ser»ice,  with  the  words  at  lenglli. 

4.  The  Seraph.— A  Colleclion  of  Sacred  Music,  suitable  lo  Public 

or  Privale  DcToIiou  ;  coubibliiig  of  the  most  cclebratid  Psalm 
and  Hymn  Tunes ;  with  self  ctiona  from  the  worhs  of  Handel, 
Haydn,  Mozart,  I'leyel,  and  tavourtte  Knglish  and  Italian 
Composcra — adapted  lo  word^  Irom  Millon,  Ifouiig,  Walla, 
Jtaaison,  Wesley,  Merricli,  Cowper,  Jleiiry  lUrke  White, 
DFTCSllyer,  &c. &c — To  which  are  added  auaiy  OmiSal 
Pieces,  composed  an^  the  wiiolc  arranged  for  fonr  Voices, 
with  an  AccompaDimont  for  tlic  Organ  or  Violoncello,  ly 


Xr.  Reply  «o  Mr.  J-  B.  Cramer. 
1.  C.  t  .  Abel's  Adafiios,  in  Score ;  anil  J.  B.  Cramer's  Specimens, 

In  Ihe  FuRue  Style   ■  .211 

XII.  New  Duets. 

).  TheSisters,  aDuet  for  twoPerformers  on  ODcPiano  Forte;  by 
byW.  H.  Culler,  Mus.  Bac.  Oion. 
Fta  tantc  nngoscic,  arranfied  as  a  Duet  for  two  Performers  on 
the  Piano  Forte  I  by  Aufj-  Mcies! 
3-  Piu  ilolci  c  placide,  arraoaed  as  a  Duct  for  two  Performers  on 

ihe  Piano  Forte  ;  by  M.  Moss. 
4.  Cnida  aorte,  arranged  as  a  Uuct  for  two  Pcrforniera  ou  the 
Piano  Forte;  by  M.  Mois. 


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AllT.  ^  P^GK 

5.  Wiiilcr'a  Overture  lo  llic  I.alijriiilli,  arranged  a3  a  D"''  for 
|]ie  Finao  Kortc.  nilli  AcciMiiiiaiiimcnta  for  tlie  Mute  aud 
Violoncello,  ad  libitum  ;  by      K.  Rimbaull. 
G.  llaiidd'B  Chorutocs,  arraiiged  lU  Ducts  for  tuo  Performcri  on 

tbe  Piano  Forle;  by  J.F.  Burrowea.  Nos.  1,  2,3,  4    921 

Xlir.  A  Bmesof  QuKlrille  Rqi»]d;i  (to  lie  compleled  in  12  Nam- 
hf ra),  the  Suhjecla  to  be  taken  from  the  moat  popular  Quiid- 

Tillo;  arranKcii  by  eminent  Aulhora   223 

^IV.  A  Morriin|{and"EteninKService,eon3istinBofChBiita.TeDeniii 
■  jJudamns,  Jubilate  Deo,  Kjrie  Elecion,  Mapiifical,  and 
WuncDiiiiittis;  also  twenty  OrKan  Melodies,  adapted  to  se- 
lected pirta  of  the  P-ialms  of  l)atid,  aiid  two  Anilieins ;  fay 
Cbarlca  ^V.  llenipel,  Orgaiii'.t  of  St.  Mary'a,  Truro  325 
XV.  Jutiah,  a  sacred  Uratiirio,  in  iicore;  wrilleu,  composwl,  and 
adapted  to  the  Works  of  Haydn,  Moiart,  and  UeeHimenj 

by  ^ViLliini  Uardiner  .  227 

XVr.  The  SnuKS,  Duets  and  Glees,  in  Shakiapeare'aPlay  of  Twclflli 
^ieb^;  the  Words  selecteil  eutirely  from  Siiakgspeare't 
Playe,  PoeuiE,  and  Sonnets ;  the  Muaic  composed,  selected, 
aiid  ai-raiiKed  for  the  Voice  and  I'iaiio  Kurte,  by  Heiiry  R. 
tiisbop,  l-iomposer  aiul  Director  ol  tbe  flluiic  to  Uie  Theatre 


Hoyil,  (Joteiit  Gurden    33j 

XVII.  THoCapriccioiforthcPinnoForto.hyMutloCleingiiti.Op.'lT  237 
X.VI11.  A  Collcclion  of  Jlyrona  and  Ptalm  Tuuca,  auiiK  iu  the  ChopiT 


iyluui  far  Female  Orpliaiit,  comuoHMl,  ielerled, 
,          an  Accompa.,Vme..t  for  tile  Qraan  "STF 
Forte,  by  Wm.  lloriley,  Mus.  Bic.  Oioii   214 

1.  How  iHcct  Isthc  Hour;  a  Ballad,  composed  by  Gcorao  Goas. 
a.  O!  came  yp  o'er  tbp  barren  Moor;  by  Gcorne  Goss. 

3.  ANosPEai  once  of  varied  FloML-rs;  al)aUiil,by  LexisLcoui  I*e. 
4;  DearTIarpofawc-et  f^n;  by  Barnard  Loe.  ' 
STHlo  Alma,  Farewell;  by  John  J-luidin,  lisq. 

B.  No  dearer  MonR-iits  e'er  cou  flow  ;  bj-  Johii  Harnett. 

7.  Take.  ohl  take  Uioae  .Lips  away;  a  Soiiji,  by  Pio  CTanchcHini  2-i7 

t  ■  liver  true;  aPnet,  compoted  by  John  Emdin,  Etq. 

2.  Ill  Celia'ii  Face ;  a  Duet,  composed  by  S.  Webbe,  jun.    2jQ 

X\l.  iiiitceu  select  .Moiemcali,  in  i'Core,  from  the  classical  lJoinp(>. 

^ilirais  of  the  ancient  and  nioderu  Schools  ;  for  the  Use  of 
Stuilcnts  in  musical  Composition ;  ttrraiiged  with  brief  He- 
marlui,  Explanation,  and  an  Appendii,  by  J.  Marsh,  lisq.  . .  250 
XX  tr.  1.  Thrre  Soualinas,  coinpoiied  for  the  Piano  Forte,  by  Joseph  De 

2.  M.iu1pelier,  a  Roiiilo  for  tbe  Piano  Forte,  by  WUliaui  Fish. 
37  Mercii  hiegaii,  a  favou rite  Welch  Air,  with  VarialioiiB  for  the 
'       Piano  t  orte,  by  Philip  hnaptoii. 

4.  An  old  lavotiritc  Air,  with  Variations  for  the  Piano  Forte,  by 

\V.  n.  Cutler,  Mus.  Bac.  O^on. 

5.  Tliema.  coa  Variazioui.  by  C.  S.  Cobhnm. 

OT  Fjiilasia,  for  the  j'iaiio  t'orlc,  on  Ui  Taiiti  Palpiti ;  by  Pio 

t:ijndieltiiii  251 

XXIII.  Li  Gaiitt  Ijdra.  Melodramma  ill  due  alti;  Die  Diebesche 

Hsfer,  roii.l.Rr.ssim    252 

XXIV.  Tll«■H.^^iMlofA^la^elJ^c=a^l)^urv.]J^le    264 


CONTENTS 


■  On  tht  EneoiiraKenient  of  Ijialiili  Muiical  Talent  . 

.  MmuaTProprlelnrsliip   

nr.  Elemenli  of  Votal  Science   7777 


IV.  On  the  MuEif 


V.  Chladai  on  Acq 


X.  fllcswa.  Mori.  Spolir,  and  KiesewEltcr   i 

XI-  The  Ncvf  Musical  Fund    : 

XH.  The  Royal  Patent  Hind  Moulds   i; 

XIII.  A  Dramatic  Fairy  Scene;  Ihe  Worda  Lj  Chiirlei  ilallell,  Esq. 


ii  introduced  a  faTouritc  Air  Russe, « 


tourile  AlrofGente  qui  eTTTJccellatorCj  and  the  grand  March 
from  the  Opcri  of  II  Flaulo  Magico ;  composed  by  Augustiu 

1.  My  Lodfiinj;  is  on  the  ™ld  Ground  ;  a  favourite  Air,  with  Viri- 
alions  for  the  Hano  t'^rte ;  composed  by  Augnatus  Alerei  .  3 
XVI.  In  InfLUicy  our  Hopca  and  Fears,  an  Air,  by  i?r.  Arne j  ar- 
ranged  and  raried  19  a  Diierlisemeat,  for  the  Piano  Forte, 
ty  M.P.  KiuK 

1.  Le  Garjcoo  Volage ;  arranged  with  Variatioiu,  for  the  Pimo 

Forte,  by  J.  MSMnrdie,  Mm.  Bac  Oion: 
i.  Peace  be  around  I'hae,  arranged  with  Variationa,  for  the  Harp 

or  Piano  Forle,  with  an  (ad.  lib.)  Accompanlnient  for  the 

Flute  ;  by  F.  L.  Hummell 

3.  The  Silesian  Waltz,  compoaeJ  with  Vaiiatioiu,  for  Ihe  Piano 

Forte;  by  Samuel  Wetbe 

4.  A  FaraphraM  upon  Dr.  Ame'i  tdebrated  Wog,  "  The  Soldier 

tir'd  of  War's  Alamn,"  campwed  with  an  introduction,  by 

5.  Chanian  Ruise  miit  ponr  le  Piaaa  Forte,  piz  John  Field  . .  3 
XVU.  N^rBiUadi  '.    3 


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CONTKKTI. 

AliT,  Eau 

IVriT.  Tha  Nlghtingile ;  ■  Ballad,  compwd  by  C-  M.  Soli 

1.  U,  lliat  I  could  recalUhe  Day;  a  Uallitl  ;  Iha  Mime  by  Wa>- 

Icy  Dojie,  Esg. 

2.  I  know  you^ false,'  I  knoir  you  Tain ;  the  Muiic  by  Weilef 

3.  An  liititalion ;  wrillco  by  SbalieapEani ;  the  Mmic  by  VfiX- 

'  tCT  'I'lirnbull 

4.  Oi  smile  not  thun;  composed  by  Chflrlei  Smith 

57  The  Miller's  DauthlFr;  an  oriijinal  EnRliihAir;  the  Wordi 
by  W.  F.  Collard;  Ihe  Symphonies  and  Aero nipani men tj  by 

J.  V,.  I  llirinn 

6.  Lorcnio  lojessica;  an  original  English. Air;  the  Words  from 
a  Scene  h.  (he  Mercliaiit  of  Venice  ;  by  W  F.Collard;  the 

Syinplionie!  and  Accompaniments  liy  J.  C.  Clifton   34fl 

XJX.  Select  Pieces  from  Himnicl's  fatourile  Opera  of  Fanehon,  ar. 

ranaed  as  Duels  for  two  Performers  on  the  Pljno  Forte,  by 
V7No»elio,  Organist  to  [he  Portngueje  Enibmy. — Boom 
1  anil  a  ■ 
1.  Hope  told  a  flatteting  Tain;  arranficd  for  tvo  Performen  on' 

the  Piano  Porlc,  by  W.  Bernpit 
g.  Cease  yonr  J-'unning-  arranEed  for  two  Performen  on  tba 

Piano  Forte,  by  W.  Beonett     ..  381 

XX.  Introduction  and  an  Italian  Air,  ^ith  Variations  for  the  Piano 
Forte  and  Flute  or  Violin ;  composed  by  Pio  Ciancliellini 
1.  Variations  for  the  Pima  Forte  and  Flote  Obligate  on  the  fa- 

lourile  Catatina,  "Di  tanti  palpili ;  composed  byH.KiihIer  3S3 
XXL  A  Selection  of  Irish  Melodies.  H-ilh  Simphonies  and  Accompa- 
niments  liy  Henry  R.  Bislinn,  and  rharacteri-idc  Words  by 

ThnmaEi  Mcoie,  E^q.— BIh  Number    353 

XXII.  Inlrcductinn.  Fugue,  and  Canons ;  a  Duel  for  two  Performers 

on  one  Piano  Forte  ;  composed  by  J.  Logier  ■  ■"  380 

XXIII.  Pastofjic  Fantasie,  and  Varialions  upon  the  fuTourite  French 
Air,  "  Dana  nn  delire  eitreme,"  for  l^to  Performen  on  lh» 
Piano  Forte  and  Harp  ;  composed  by  C.  N.  Bochsa 
1.  L' Alliance,  grand  Irio  Concerlante  for  ihe  Piano  FoTte.  Harp, 

aadTlute ;  composed  by  N.  Ch".  Bochsa    384 

XXTV.  Ne»  nuels    3B5 

XXV.  NewGlees   35S 

XXVI.  Ijura;  a  Song,  stitb  an  Accompaniment  for  the  Piano  Forte, 
'■        Horn,  Male,  Violinccllo,  and  Double  Bass,  (ad  libitum); 

composed  by  Wm.  Hortley,  Mus.  Bac.  Oion.    . .     .  ■  .TiT  388 

XXVII.  New  Imitalions  of  eminent  Composers,  in  Fourteen  Variationa 

f^HTPlIS^Forte  on  a  fJVS5?{(e  "AiT^rR^ini's ;  com- 
posed  by  T.  Latour,  Fianisle  to  his  Majesty    388 

XXVIII.  Ne»  Baltads   ■   373 

XXIX.  AGrandSonaU;  compo!..-d  by  Charles  Kealc;  (opera  g.) 

1.  A  Military  Air,  witii  inlroduclion  and  Coda;  composed  by 

CharleaNeate   375 

XXX.  Bnrrowes-s  Caledonian  Duebi    378 

XXXI.  Sketch  of  the  Statu  of  Music  in  Undon   37B 

-XTX".  Madame  CitaUm   ,   40Q 

XXXIH.  Obihiary— Dr.  Callcott    404 


CONTENTS 
Nq.  XH. 


Ant-  Eact 

r.  0«  Vocal  Stylk    407 

II.  RBmarka  oa  InatroniKnlal  Compoaert    414 

III.  .On'thS'j^Bt  ulijecli  of  Milsic  "   420 

V.  Oh  a  Double  boublu  U^ti    427 

yi.  The  Musical  Student,  No-  4    430 

VII.  On  llic  Rise  and  Proircsi  of  the  Violin    439 

VIH.  On  thrCilh-dr^l  SErvice^Winthe»ler    ^ 

IX.  Madame  Catalan!   455 

X.  Madame  Campofoic   457 

XI,  Judah,  part  the  Eccond           .   409 

XH.  Ludclus  Ordo   4S0 

XIII.  Beale'3  GIccb  and  Madriaita   ■■   471 

XIV.  Spaiiluli  Melodies,  with  CharactCTisUo  Poeli'y,  written  by 

by  J,  it.  Planrjii-,  E>q,    The  tjymphoniea  md  Acioni- 

paniiiienta  l>y  C.  M,  Sola  .~.  477 

XV.  Tlie  Alusical  (.jame^  nf  I'ope  Joan,  Casiino,  and  Com- 

mcree,  by  E.  E.  Thomas    4S4 

XVI.  How  bkat  i3  the  Friendship,  eompOBed  by  M. 

3.  O,  why  is  Lore's  Celgstial  Dreani,  a  duel  by  M.  Vertue. 
aTTT  thou  caiijt  IItb  on  humble  faie,  a  pastoral  duet,  by  Si. 

Vcriue  415 

XVII-  While  Honrs  of  Bliss  arc  fleeting.    The  words,  CTmpho. 

niea,  and  aceompaiiiments  coniposed  by  (j.  t'.  Uraham, 
tkq.  the  melody,  foreign. 
2.  O  for  the  Days  when  our  young  gladness.    The  words 

■      and  music  byGTFrGTSITaiSr^   435 

XVIII.  TE^'B^iiHi^pf  H5^t7Biirdci;Plir51,  JIaydn,  U^ilio^ 
Ten,  aiiil  olhcf  celebrated  Composers,  adapted  to  the 
words  of  popular  I'salms  and  llymna,  lor  one  or  two 
Voices;  with  an  Accompaniment  and  appropriate  Syni- 
phonioa  for  (he  Piano  Forte,  Organ,  or  Harji ;  by  an 

eminpnl  Prnfi-Rsiir    486 

XIX.  Serond  Part  of  Clementi'g  Introduction  to  the  Art  of  Play. 

ing  on  the  Piano  Forte,  beins  an  ImprofCmcntupon  bin 
former  Work  formerly  called  an  Appcndii,  containing 
Prclndes,  Scale  Exercises,  Wational  Airs,  Varialioiis,  tiro 
masterly  Fuipies  of  Sebastian  Bach,  with  other  ' 


ire  Ficcia,  calculated  for  tlie  greatest  ii 
.f  the  Studcn-     "'^        ^  - 


whole  arranged  and 
fingered  by  ihe  Mitor,  Aiazio  CIcniCDti.    Op- 43  480 
XX.  Polinodia  a  Nice,  in  ttairteen  rocal  jjnets,  with  aii  Accom. 

.  paniment  for  the  Piano  Forte,  composed  by  J-  F.  Dan- 

neley;  with  an  English  metrical  TraDgUtion,  written 
^BblyfortheWork,by  Mri.  J.Cobbold    494 


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coktedts. 

Art.  Page 
XXI.  Sd  Canonl  a  (re  Tod  con  coda  ed  aecnmpagnainento  di 
piano  forte  obllgato,  compotto  Da  G.  G.  Ferrari  di  Ro- 
ve redo.    The  Wordi  by  an  Amateur. 
3.  Shriy  It^ian  Catches,  for  tno,  Ur^Ct  yd  four  Voicea,  com- 
poacd  by  the  most  celebrated  Fadre  Maeatro"" 
(of  Bologna);  for    ■    "  - 
companiment  for  th 
Pin  Cianeheltinl. 
3.  Ten  Canoiis  for  three  Voici 
XXH.  A  Kerbs  of  Caledonijui  Mri, 

Forlc  ;  by  J.  ¥.  liurrowei— Twclte  Numbers   501 

XXIII-  Theme  »ith  VarUtiona,  an  Introduction  and  Finale  for 
the  PiaDD  Forte;  romposfil  by  Itichard  Sliarp. 
2.  II  Ciorno  fel[ce,  a  Dltertimento  for  the  Piano  Forte ;  by 

T.  A.  Itawlini^  777  509 

XXIV.  The  Ilarmonioui  BLaEkaniith,  a  celebrated  Air  by  Handnl, 
gith  entirely  new  Variatioin  oonipoied  by  Ignace  Moa- 

2.  Copriccio  for  the  Finno  Forte,  compaud  by  1.  Moschele;. 

3.  Tlirce  Heroic  Marcliei.  for  two  pcrformcri  on  the  P\u\o 

Forte;  compOKd  lij  I.  MDSchclea   5lb 

XXV.  The  Kosslau  Maidea'e  Song,  compoeed  by  John  Itcalc 
E~D^FCoatgnt ;  a  Billadi  mmpo«cdT>v  T.  Coolic,  Dircc- 

lor  of  the  Music  at  the  Theatre  Royal,  Drury-lanc. 
S^T^y  timptni^nM ;  campoBed  by  M.  P-'Corn. 
'4.  Sweet  it  tlie  balmy  "Evening  Hour  ;  a  KaBia ;  tho  Mmie 
eoiBpoted,  with  an  Accompanimant  tor  the  I'iano  t'»ite, 

by  J.  M'MoniiE,  Mus.  Bij.  Oion.  ■   , ..  514 

JUtVI.  Hysan  Ihi*  Urate;  an  Arahiic  LoteiionK;  conipoatd  by 

Jame<  f 'larke. 

2.  The  lto»e  of  AITeirtioB ;_  the  Muilc  by  Sir  John  Stctamon- 

3.  Summer;  composed  bvSir  John  SteraiBon. 

4.  L  had  eighed  o'er  the  ilud;  compogod  by  Kjdiard  Sharp. 

5.  Deep  in  mySoul;  the  Mnsie  by  U.  V.  Duia],  E(q. 

6.  A  secoad  Cauionet,  "  A»  thriiuEh  Life's  eariy  Paths  we 

rtue;  "  composed  by  J.  C.  Clifton   SIB 

XXVll.  Faotfliia  far  tJie  Flute  and  Pimno  Forte,  in  which  arc  in: 

Iniroducdon  and  Bollcro,  com- 

 Isno.    hnr  the  Piano  Forte  Ac- 

coiapanimcnt  to  tliia  Piece  the  Author  it  indebted  to  Mr. 
■t.  (T7riiftfm— 
3.  Fantaria  tor  Hie  Flute  tod  Piano  Forte,  In  which  is  iolro- 
duced  a  faiorile  Irith  Meloily,  conipoied  by  Charles 
NicholHin.  i'or  the  fimo  l^'orte  Accompaniment  to  Ihia 
Heco  the  AnUior  ii  indebted  to  Mr.  N.C.  Bodisa,-No.3__413 
XXVni.  fiiit  Duels,  fortwo  Fliitct;  eompoied  in  an  eaay  though 
brilliant  Btylc,  by  W .  Uabridski ;  compitied  in  2  boofc 

Dp.  52        510 

XXIX.  The  calebmtad  VariatiiHH  upon  a  Thenia  by  Rode,  otigi- 
hally  compBiad  for  Hic  Violin,  adapted  fnr  the  Voice, 
aad  iuih;  with  BrtrMrdlnary  efect  tl  Fam  by  Madame 
(Jatalani,  and  gov  arratyted  for  the  Fiano  Forte   530 


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THE  MUSICAL  STUDENT. 


Xo.  3. 

Among  all  Ihc  cclcbtaled  mnslurs  who  fioiirislii'ii  (iiitijig  the 
eighteenth  cenlurj',  it  docs  not  appparllialUifcc  nnsonc  wim  is  gcnc- 
tallf  allowed  to  have  been  equalh/  ^rnnt  bnl  h  in  vocnl  anil  instrunwn- 
tal  compoaition, 

"  So  vast  is  art,  so  narrow  human  wit  1" 

HiKDBi.  was  certainlj  (be  first  inslriuncntal  writer  of  his  dsjr. 
But,  while  lib  sublirao  cbomsses  lemain  unequalled,  Iiis  orcheitral 
music  has  long  been  greasy  inrpoased,  and  is  now  performed,  I  be- 
lieve, in  no  coimtr;  but  our  own.  Even  here,  its  lingering  esialence 
seems  to  be  cliielly  owing  to  the  impulse  which  its  great  author  once 
gave  (o  the  public  mhui.  Time,  however,  mu^t  cause  (hat  impulse 
to  subside;  and  shontd  tlie  Concert  of  Ancient  Music  decline,  the 
orcUeatralcomposilionsniTlANnrr,  will  iw  nnly  m.  t  \rilh  in  the  libra- 
ries of  the  studious  and  tii<;  ciiriuiis. 

Some  of  my  readers  will  [icrJiaps  llu'nk  tlial  Moiaht  may  be  in- 
sfancKl  as  an  exceplian,  on  (he  present  occnsion  ;  but,  without  anti- 
cipating (lie  reniarhs  which  I  ^ha)1  herea^cr  make  on  the  mighty  and 
comprehensive  genius  of  that  extraordinary  man,  1  do  not  hesitate 
to  say,  that  the  bios  of  his  mind  wns  decidedl/  tanards  iutrumentftl 
compoMtian.  Tliia  I  aball  eodeaTour  lo  prore,  in  s  fatate  nnmber. 
Indeed,  it  may  bo  observed,  that  vocal  and  iaatruroental  tnusic  often 
proceed  upou  very  diflercnt  principles,  and  affect  (he  mind  throagh 
diSurcut  media.  Vocal  music,  by  the  aid  of  its  powerful  adjunct 
poetry,  has  a  determined  senst;  given  to  it,  and  it  speaks,  or  rather 
heightens,  Ihc  language  of  grief,  joy,  liupe,  fiMr,  or  any  other  pas- 
liun,  according  to  its  peculiar  appliciiliiiii. 

The  sense  orinstrumontnl  music,  the  rr.nd.iry,  is  vagne  and 
indefinite,  and  it  is  not  probable  that,  among  those  who  listen  to  it, 
two  are  ever  found  who  interpret  its  meaning  exactly  in  (he  same 


What  inslru mental  music  w.iiils  in  precise  ami  drciiletl  expresiior, 
mast  be  made  op  b;  vast  variety  of  subject ;  b;  slrilting  contrut ; 
by  abrupt  modulation  ;  by  frequent  mixtum  of  (lie  three  genera; 
BDd  by  all  (he  inlcrvhangi:  of  light  and  shade  nhich  the  orcheilrs 
can  afford.  These  are  thechief  materials  which  compose  the  cbanai 
of  iastrumeDtal  music,  ami  if  some  of  (hero  are  tued  but  sparingly  in 
the  purest  and  most  suhllme  vocal  composition*,  and  others  altoge- 
ther rejected,  it  is  because  (lie  latter  spcnks  more  to  our  underslatid* 
ing  than  to  our  senses ;  consequently,  is  le^K  dependant  on  mccerjfert. 

Tlierc  can  be  no  doubt,  thai  each  Bpccics  of  manic  has  lis  peculiar 
dilficiillies,  which  are  siilTicicnt  to  occupy  tlie  life  and  exercise  the 
genius  ol'tlie  moat  giftn!  iiuKing  msnkiiul.  Ilcrpaffer,  I  may  attempt 
Eomcthinj;  like  nn  tniiiu.T.itioEi  »ml  ;i  cunipari=oii  aflliose  difficulties. 
At  present,  1  shall  content  myself  ivilli  obserring,  tijal  they  give  an 
impulse  to  the  mind  of  a  composer,  which  may  be  plaiolyfell,  when- 
ever he  attempts  a  style  of  writing  which  !■  remote  from  that  im* 
pulse,  or  opposed  to  it.  Thus,  when  we  examine  the  worki  of  our 
early  aymphonists,(aoniB  of  whom  were  the  first  vocal  composers  of 
their  age)  we  find  them  partaking  lately  of  the  nature  of  vocal  com- 
positions. 

Those  masters  are  exceedingly  sparing  in  their  use  of  the  chroma- 
tic and  enharmonic ;  their  modulations  arc  generally  cautious  and 
simple;  while  their  melodic  intervals  and  lianndiiic  coinljiiiations  ap- 
pear such  as  may  easily  be  performed  by  voices.  If  «c  carefnlly 
look  into  some  of  the  moat  celebrated  vocnl  writings  ol'  our  oivn  time, 
weshall  find  them,  I  think,  deeply  imbued  with  the  character  of  in- 
strumental compositions ;  whslhci  we  consider  them  with  regard  to 
melody,  harmony,  oi  modulation. 

1 1  ihe.'sc  things  really  be  h>— if,  in  the  works  of  the  grotlett  muu- 
ciaus,  the  appropriate  characterislici  of  the  vocal  and  instrumental 
style  ho  improperly  blended  together— my  leadera  will  be  prepared 
to  agree  with  n»,  that  it  has  not  been  giren  to  any  man  to  be  equally 
successful  in  both,  and  they  will  be  prepared  to  hear  me  say,  that  I 
consider  Hatdh'i  vocal  compositions  inferior  to  those  which  he  has 
produced  for  instrumeots. 

Haydn,  like  all  other  eminent  writers  on  the  Continent,  employed 
himself  in  composing  both  for  the  church  and  the  theatre;  but  weare 
best  acquainted  with  his  compositions  fot  the  former.  These,  too, 
may  be  reduced  to  bis  Slabal  JUater,  hu  mastei  and  bit  oratorio  of 


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3 


He  CnaUm."  Todiislist  vemajadd  "McSM*iHU,"«)itch  b  k 
deactiptive  poem,  tet  to  imitative  music,  and  corau  ralber  under  (1m 
head  of  Cantata.*  Tbe  words  I  have  just  enumerated  by  no  meBni 
fonnihe  bulk  of  our  celebrated  author's  vocal  compositions.  They 
GODstituIe,  however,  (he  most  important  part  of  lliem,  in  the  estima- 
tion of  the  mtuical  worldjt  and,  (bererore,  claim  our  chief  cocisidtr- 
ation  at  preteol. 

Before  1  proceed  farther,  I  would  offer  a  few  observations  to  Tub 
Mdcical  Student,  on  the  nature  of  vocal  composition,  and  its 
proper  applicnlion. 

It  is  peifectlj  clear,  that,  whatever  may  lie  (he  ccHnpoicr's  design, 
it  ii  incumbent  on  liim  to  study  the  power  and  character  of  tbe  dif- 
ferent organs  or  instrnments  which  he  employs.  In  my  last  number, 
I  (oak  occasion  to  notice,  how  carefnl  Hatoh  bu  been,  in  tbtt  re- 
spect, in  all  that  regftrda  mnuc  for  tbe  orabettra.  Now  the  bonwn 
TOioe,  beingof  all  other  instnimenh,  Ihemoit  noble  and  excellent, 
and  pouestingtbe greatest  dominion  over  the  mind  and  ima^nation, 
it  fallows,  that  he,  who  undertakes  to  employ  it  in  composition, 
should  ad.ipt  bis  coitccptiuna  to  its  peculiar  nature  and  properties, 
if  iie  would  make  a  deep  and  butiiig  impression  art  hi$  audilort.  Not' 
latluianding  its  superioTily  over  other  muBical  instruments,  Ihe  hutium 
■mice  is  the  most  difficult  of  all  io  laanagc.  Niilurc  gives  correct 
intonation  to  a  very  few,  and  those  tn  ivliom  il  lias  liocn  di'iiicil,  sel- 
dom or  never  succeed  altogetber  in  supplying  their  deficiency,  by  tbe 
ntaoat exertion  of  industry  and  perseverance. 

If  the  intonation  of  the  natural  or  diatonic  scale  la  difficult,  maeh 
more  so  are  tfaoce  modlficatiana  of  ft,  which  constitute  the  ether 
genen;  and  it  is  oa  (his  account,  perbapa,  tbiU  when  tbey  ate  at- 
tempted at  any  length  even  by  emipeaf  singers,  tliey  appear  alien  to 
the  nature  of  the  voice,  and  never  fail  to  displease  all  peraoas  of  real 

•  CnoBOX,  in  his  "  Didmmaire  Halorhue  det  Mtukkni,"  tpeoUng  of 
*  Tile Creatian"  am)  "  The  Seasons" ssjs— « les denx soot  inmropienient  m- 
pellfa  or^orio ;  ce  sotit  plutdt  dcs  Contatet.''  That  "  Tke  Seaient"  ihould 
n«t  be  ealleil  an  oraloriu,  I  can  easily  believe.  But  I  Cannot  nndcrstand  wlij 
that  epithet  should  be  denied  to  "  The  Creation;"  iiaai  the  glory  of  the  Cre- 
ator ii  tbe  chief  design  Dftheirork,  and  much  ot  the  text,  so  far  as  we  can  judge 
b)'  tbe  vile  English  tmnslatioti  nhich  accompanies  it,  consists  of  scripturat 
pstsphrues. 

t  Uatds  alwajslud  much  stress  on  his  dramatic  music.  A  friend  of  mine, 
wbq  bad  the  good  fortane  to  be  often  in  his  company  irhile  he  remained  in 
Ebglaad,  baa  told  me,  that  whencrer  he  was  complimented  on  bis  lynqibMlca^ 
or  qnartetu,  he  would  eielaim — "  Ah !  hut  if  jou  could  hear  my  operas  1" 


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THE  MUSICAL  STUDENT. 


lute.  If  (faeu  chromatic  and  enhannonic  moilirications  uf  ibe  must 
simple  and  natural  tcale  areoften  nnpteannt  when  heard  in  melodr, 
fliey  become  still  more  utipleasant  vhtn  Ihej  are  beard  in  tboce 

combinaliont  of  melodies  which  fbrm  harmony.  We,  therefore, 
gfldom  meet  nith  them  in  the  greatest  and  purest  vocal  writers ; 
and  when  ihey  do  occur,  they  are  raana^d  with  a  degree  of  care 
and  circumspection  which  proves  the  Gcnse  those  authors  had  of  the 
difficully  they  imposed  on  their  performers.  To  illustrate  this,  I 
will  give  some  examples  which  are  taken  from  Ahtokio  Lotti,* 
and  Fbancesco  Dubante,+  two  eminent  innslers  who  lived  during 
one  of  the  brightest  pcriotls  of  the  Italian  School.  Persons  who 
hnvc  been  accustomed  to  consider  extreme  aimplicity  as  one  of  the 
must  striking  characteristics  of  the  music  of  Italy,  may  be  astonished 
al  the  boldness  and  unuiuai  harmony  which  those  passages  exhibit, 
especially  when  they  consider  the  time  at  vbiob  Ihey  were  written  t 
but  the  stndent  will  observe  wllh  whatartsttch  difficult  cotablnalions 
are  managed,  and  bow  completely  the  care  and  judgment  of  the 
composers  ban  rendered  progressions  and  harmonirs  proper  for 
TOicei,  whicb  at  first  sight  appear  calcuhilcd  on]y  for  instruments. 

To  me  the  whole  secret  Kems  to  be  this — i^ficnexcr  the  melodivs  are 
confined,  each  of  than  motfs  p  iieral/y  bi/  degrees,  and  nut  iy  siips. 

It  ivill  not  be  expected  by  any  one,  111  at,  in  a  sliorL  essay  like  the 
prcieut,  I  blionlil  eiLltr  into  an  analysis  of  tlie  examples  jusl  referred 
to.  The  student  must  carefully  examine  them  for  himself,  and  Uieu, 
I  have  no  doubt,  he  will  agree  tf  itli  me  in  the  remark  I  have  just 
made. 

.  But  I  roust  not  quit  those  examples  without  olnerving,  that  the  se- 
cond furnishes  a  remarkable  exception  to  all  that  I  have  been  saying. 

Tlie  expression,  at  the  w«rds  f*4asa  humi&ila,"  is  certainly  wry 
strong ;  but  the  conslmclion  of  the  passage,  its  chiomalic  progre>> 

"  I.oTii  lloudshcil  at  the  endof  thtsriciitcculli,  and  at  Ihe  beginning  efilte 
ivit  rentary.  lie  wa.1  one  dC  the  ^lo^t  celebrated  composers  of  the  age,  aod  it 
1>  Sdid,  tlijl  Utsst  chose  hnn  for  his  mmM.  The  eilraLls  which  I  present  to 
my  rf^aJprfl  art'  taken  from  a  manuscript  Mi:<ercre  in  my  possession. 

+  f.  DtiUNTE  HIS  OIK  of  the  most  refined  contrapuntists  (hat  Italy  has  pro- 
duced, and  his  h  orks  will  ever  be  regardeii  as  somp  of  the  finest  spociraeni  of 
classical  harmony.  Tile  "  Qiii  lotUs,"  w  hence  my  eiample  is  taken,  may  be 
found  ill  Noiello's  Collection  arMaMC9,Vot.  3.pa^  13.  The  Student  at  page 
30  of  the  same  Tolume  will  alio  find  a  dolidout  mmsel,  composed  by  Guco- 
MO  Fiara.  This  morctneat  ii  tin  inierted  bj  Padbe  HAanni]  in  bis  adat- 
laUe  "Saggb  £  centn^anto." 


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TllE  MUSICAL  STtJDENT. 


5 


sions,  and  Us  abrupt  nioiluktioai,  reader  ibe  vrhole  exceedinglj 
bartfa ;  nod  I  bare  no  hesilation  in  Bcknowledguif  that,  if  the  irork* 
oftbe -elder  inaslm  pmented  nsvifli  taany  such  liarmonical  coni- 
binalioin  and  progresEiDnB,  I  should  have  tittle  to  say  against  the  li- 
cences nhich  their  successors  have  laheri.  The  truth  boirever  is,  that 
the  extract  in  question  is  an  exceplin[i,anJ  a  vcrjcxlmordinarj  one, 
to  IhegcnemI  rule,  according  to  which  the  greatest  vocal  composers 
ECcm  to  have  proceeded,  and  1  cannot  tell  where  to  find  a  parallel  to 
that  extract,  unless  it  Iw  in  the  "  Adotemm  te,"  composed  b;  Pac- 
cHioNi,  and  insetted  in  (he  aecand  volume  of  Padhs  Mastihi's 
may.  That  verse  Gcems  evidently  to  have  been  coinpiKed  as  an 
exercise,  aud  for  (he  display  of  dilBcnlly  and  carioua  contrivance; 
ibioughout  the  whole,  however,  the  principles  of  the  gradual  progra- 
Hon  of  cacb  part  may  be  clearly  discerned. 

If  «e  turn  to  the  compositions  oftbemost  celebrated  mailen  of  our 
own  age,  we  ihall  flDd,  I  Iblnk,  (bat  (bey  here  not  been  so  earful  in 
the  construction  of  their  vocal  parts.  Powerrnlly  impressed  with  the 
instrumental  effects,  they  seem  to  have  overlooked  some  of  the  most 
striking  characteristics  of  the  human  voice.  Therefore  we  miss,  in 
their  works,  that  fine  continuity  of  melody  which  gives  so  great  a 
cliann  to  the  writings  of  the  old  composers :  nor  do  we  observe  that 
careful  dispu^ition  of  each  separate  part,  which  produces  so  puwcrCul 
a  rtsull  from  Ihe  whole.  On  the  contrary,  we  are  oflen  surprised 
uilU  the  sudden  breaks,  the  abrupt  transitions,  and  all  the  harsh  and 
astounding  combination B  which  dislingubh  modern  orchestral  music. 

Proofs  of  the  truth  of  these  observations  may  be  easily  drawn  from 
the  mas»cs  of  Haydn.  I  shall  proceed  to  notice  a  few  of  them.  In 
the  "  Gralias  agimus  libi,"  of  llie  first  mass,  we  find  the  b7-9  taken, 
talkoul  (he  prcparalion  of  either  sound.  See  example  No.  5.  Tbis 
nnprepttrcd  discord,  accompanied,  as  it  is,  by  the  4tb,  woubl  bare 
an  extremely  harsh  effect  if  it  were  performed  by  instroments;  but 
soch  comhinntiona  abould  never  be  written  for  voices,  and  for  tbts 
plain  reason — beeaae  voces  amnotpajbrm  them  accuratdsi  there- 
fore (he  natural  harshness  of  the  dissonant  harmony  will  always  be 
heightened  to  an  unpleasant  degree,  by  a  want  ofiune  in  the  several 
parts  of  which  the  harmony  is  composed. 

The  "  Brrta^ui"  has  many  instrumental  passages  in  the  vocal 
,ftita;  No.  6  is  oi[ie  of  them. 


6 


TBB  mniGAL  nVDENT. 


la  the  lai(  laoreiDent,  "iJoMs  mAu  pacem"  we  fim]  a  vety  abinpt 
and  iiutiumonUI  passage  at  tlie  coticliuion. — Sec  IDxample  No.  7- 

Tlie  largo  introduction  to  tlie  second  mass,  at  tlie  ivuids  "-Kyrie. 
ekitm"  is  ilecidcillj'  instruinental,  and  tlic  voice*  liavc  llic  cIR'ct  of 
mere  accompaniment  to  Ibe  orchestra.  Conccrninglhcallegro,wliic  b 
followe,  I  shall  bave  aomelliing  lo  say  licrcaflcT. 

The  "  Qui  tollis"  contains  many  passages  wliicii  do  not  appear  to 
me  truly  vocal  \  No.  8  is  among  them.  Tlie  following  verse,  "  Quo- 
ttiam  lu  solui  sanclus"  terminates  alia  fugata;  and  tiere  llie  voice 
part«  are  too  mncli  broken,  and  bear  too  great  a  resemblance  to  many 
imilalive  passages  wbicb-we  tnect  vitb  in  our  author's  Quartells; 
Noi.  S  and  10,  ue  taken  from  the  Credo"  and  " Dona  tmbit 
peeem"  ot  the  nme  maic  Tbty  are  of  &  limilar  cbarader  lo  tba  ex- 
amples already  noticed.  Were  I  to  proceed  Ihrougb  thet^her  masses, 
1  miglit  very  easily  multiply  proofs  of  the  cnrrectnesa  of  Uic  proposi- 
tion nbich  1  have  ventured  to  adraocc.  Passages  enough,  however, 
have  been  selected  for  the  purpose  1  have  in  view ;  therefore  I  will 
only  observe  thnt,  although  Ili0!;e  passages  are  besi  calculated  lo  illiu- 
(rnle  my  meaning,  it  mill  be  fouiul  that  the  principle  tbey  exhibit 
pervades  Die  wlioli^  of  Havon's  vueal  compositions. 

In  point  of  structure,  there  ts  not,  I  tliink,  among  all  our  author's 
works,  any  thing  so  truly  vocal  us  liis  "  Slabat  mater."  That,  per- 
haps, nas  written  at  an  early  period  of  his  life,  and  when  bis  own 
style  was  not  completely  formed  ;  for  it  partakes  much  of  the  man- 
ner of  Baotk  and  Gbaum^  who  wrote  after  the  model  of  the  Italian 
Mbool. 

If,  from  the  nature  of  their  oonrintction,  the  vocal  compositioni  of 
Hatbh  ftil  in  comparison  with  thoie  of  many  greet  maiten  who 
preceded  him,  they  may  aim  besaid  tDinfifer  from  (he  redandant  aad 

ovifponeriiig  ch  a  racier  of  his  accompanimcnb. 

The  exnct  limits  of  accompaniment  never  have,  and  perhaps  never 
ought  to  be,  defined.  Gut  while  we  should  alwajs  be  disposed  to 
leave  much  to  tiiclosle  and  feeling  of  every  composer,  we  are  not  for- 
bidden to  reason  freely  on  those  priiic!pl(;;>  wtitch  should  serve  as  gene- 
ral guides.  Now  Ihe  first  Idea  whicli  we  naturally  eiilertain  of  nccom- 
panimcDls,  and  that  which  the  term  seems  more  particularly  to  implyi 
is  subordination  lo  (he  main  subject.  Painters,  I  believe,  do  not  al- 
low of  two  figures  of  equal  interest  in  their  compositiont.  Tbeis 


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THE  MUSICAL  STUDENT, 


■nuat  be  one  principal  objpct  to  which  all  the  olhcrs  nre  but  ncccsso- 
rin,  gradually  leading  the  raind  to  that  object  on  whicii  i(  ought  tu 
dwell. 

The  cue  in  (nnaic  is  somevhsi  different;  for  we  can  combine  two, 
or  even  rooresobjects  of  equal  interest;  and  pei30d»wha  havccarried 
their  cnltiTatton  of  tbe  art  to  a  high  degree,  often  derive  very  consider- 
able enjoyment  Fram  inch  combination. 

But  where  the  obvious  design  ofa  composer  seemB  lo  be  the  moving 
of  our  alTectioiia  through  a  |iarticularme(liun],  such  far  instance,  as  a 
single  voice,  or  a  com  bin  a  lion  of  voict;!,  It  is  clear  that  lie  will  fail  if 
Ihose  parts  brcome  principal  which  should  be  accessories,  and  which 
are  inlenileil  lo  heighten  the  effect  ofbis  chief  object)  not  lo  abslract 
(lie  raind  from  il.  Were  we  to  Inke  a  review  of  the  history  of  accom- 
paniment, from  (he  lime  when  it  first  ofBcialed  as  the  humble  hand- 
maid of  vucal  music,  down  to  our  own  day,  when  it  appears  to  usurp 
(lie  pliice,  and  claim  all  the  honours  and  prerogatives  of  its  former 
mistress,  we  should  find  very  few  composei*  who  would  wholly 
escape  from  blame. 

Of  all  writers  Uluck  appears  lo  have  had  the  moiCcarEecl  notion 
of  the  true  purpose  of  accompaniment.  But  hii  coantrymen,  who 
have  cullivaled  instmroenlal  compotilion  nilh  sach  astonishing  sue* 
cest,  seem  to  have  lost  sight  of  those  principles  which  inQuenced 
Glvck,  and  in  their  works  we  are  oRen  in  doubt  whether  the  vocal 
parts,  or  the  inslrnmenlal,  are  intended  to  predominate.  Not  nnfre- 
qnendy,  indeed,  (lie  malter  is  fairly  decided,  and  the  iostmrnents 
hare  the  advanlage. 

That  this  b  the  ca^c  with  (he  com|H)siiiuns  of  Haydn,  which  T  ant 
now  considering,  few,  I  (liiiik  will  dejij  ;  if  tliey  have  a  real  feeling- 
for  vocal  music,  and  have  been  accnslnmed  to  consider  the  cBecls 
which  it  is  capable  of  producing.  When  we  listen  to  an  opera  of 
Gldck'b,  or  to  tbe  chorusses  of  Handel,  we  are  at  once  altncted 
by  (he  vocal  parts,  and  we  find  it  quite  impossible  lo  abstraet  oar 
Bitention  from  them.  They  come  out  as  it  were,  front  Uw  ordierin, 
and  we  are  at  once  made  teniiUe  whatever  may  be  assigned  to  the 
■nstniment^  that  they  are  intended  (o  aid  and  to  heighten  the  vocal 
parts,  but  not  (o  dominate  over  them. 

T&e  reverM  of  this  it  usnally  found  in  the  vocal  compotitiona:  of 
IlArBit,  and  it  is  hardly  a  paradox  to  tay,  that  tbe  richness,  beanly, 
and  variety  of  bii  accompaniments  may  be  Airly  liable  to  objecthm  i 


8 


THE  UUSICAL  STUDENT. 


iRsamucli  as  Ibey  produce  (liitraclian  in  the  mind  of  the  beareri  Mil 
serve  to  divert  his  attcniiou  from  IhoH  part*  on  wliicli  it  ihonlii 
principal]}'  be  fixed. 

Nothing  that  I  have  here  advanced  'nil!,  I  hope,  be  construed 
into  any  thing  lilcc  a  contempt  (or  fine  nccompnn intent,  nor  insen- 
■ihililj'  to  its  influence. 

No  engine,  in  the  bands  o[  a  vocal  composer,  can  be  moic  power- 
Tul  to  assist  in  afTecting  his  hearers,  than  a  fine  orchestra.  But  its 
riches  anil  almost  boundless  resources  often  tempt  to  prodigality 
anil  improper  indulgence.  Thus,  in  listeniog  to  Ibe  vocal  music  of 
HArnH,  tlie  orchestra  and  little  but  the  orcbeslis  seems  alniajB 
present  ivith  as;  aud  we  rlie  from  our  enleriabuieat  with  alt  (be 
uosationi  and  imprenions  oFan  iuslnimenlal  performance. 

If  the  construction  of  the  parts,  and  the  mode  of  accompaniment 
practised  by  this  great  master  may  be  liable  to  some  objection,  more 
may  be  said  against  the  style  and  general  cliaracler  of  bis  vocal 
composilions ;  those  I  mcnn  which  are  intended  for  llie  church. 

Praise  or  supplication  is  the  great  object  which  occupies  the  mind 
of  man  when  he  is  in  communion  with  his  Creator.  Of  conrse  praise 
and  supplication  tortn  the  substance  of  nil  public  wor&hip,  and  when 
music  is  employed,  it  is  to  give  cffuct  and  energy  to  both. 

The  style  and  character  of  the  music  designed  for  an  office  so  holy, 
are,  surely  then,  matters  of  the  last  importance,  and  it  would  br  im- 
possible  to  omit  the  serious  consideration  of  them,  when  we  are 
treating  of  works  which  are  generally  received  as  tacrtd  composi- 
lions. It  would  be  a  very  difficult  tbin^— at  least  so  I  consider  il, 
to  give,by  words,  s  correct  idea  of  the  chasleness,  the  simplicity,  and 
unaSeded  grandeur  which  should  always  be  found  in  music  which 
is  designed  to  call  forth  and  to  keep  in  action  the  purest,  and  tiie  most 
anfnl  feelings  of  our  nnture.  They  who  wish  to  have  a  true  notion 
of  that  which  cnnnot  be  well  conveyed  by  words,  should  carefully 
examine  (he  works  of  tlie  cider  Italian  ninaleis,  who  wrote  belorc 
diamatic  studies  had  infecled  ecclesiastical  composition.  Let 
them  abo  consider  diligently  the  admirable  productions  of  our 
own  composers — such  as  Bydd,  Gibbons,  Pdbcell,  CnoFT,  &c. 
Then  let  them  listen  to  tke  Messiah  of  Handel,  which,  if  I  may  say 
it  without  irreverence,  seems  to  partake,  in  some  degree,  of  the  sim- 
plicity and  sublimity  of  his  chsracler,  wboK  aufierings  and  glory  it 
u  iiiteaded  to  coromemoralc. 


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TBB  HmiCAL  ITUDENT. 


9 


But  if  it  be  difficult  txaetlf  to  descrlbii  Ibote  things  whicli  ^dbU- 
tule  cxcclluncc  in  lacred  muiic,  it  is  not  difficult  to  pdiH  out  tliOM 
by  which  its  inflaence  may  be  diminubed,  if  not  entiiely  loit.  I 
tay,  tbeo,  tlial  no  liglit  nor  common  traiU  of  melody,  no  raddcn 
tnuuilioiu  of  hannonyi  no  onr-viought  and  OTer-chargcJ  sccom- 
pmiptent  ibould  be,  heard  in  the  church.  On  the  conlrary,  Ibd 
taasini,  '*  an  at  ctlare  artem,"  should  ever  prevail,  and  the  must' 
cian  shanld  appear  thoroughly  to  humble  hirasclf,  and  have  no 
other  object  inconlemplalion,  save  that  of  the  glory  of  God  and  the 
promotion  of  real  piety. 

If  I  am  correct  in  Ihis  view  of  my  subject,  and  if  ve  examine  the 
raahses,  anil  even  "T/ic  Cretilion"  of  IIaviin,  by  tlie  principlrs  which 
I  have  laid  down,  iie  bt.ull  fiml  lie  f.iiioiii  ^omcof  (Iil-  fir^t  aUri- 
hulcs  wliich  siiould  distingubh  a  composer  u(  sictcil  music.  His 
style  ia  much  too  light  and  dramatic — bis  subjects  want  f^mvily 
ftod  dignity — bU  accompanimenlscre  often  foroigii  to  tlic  iialy  themes 
irhich  tbey  aie  intended  ia  adorn— whilehb  abrupt  modulalionG,Bnd 
violent  oontrasta  bdoi^  to  the  theatre  and  not  to  the  church. 

to  prove  thta,  it  vill  be  sufficient  to  give  and  la  point  out  a  few 
isamples.  No.  11  is  taken  from  the  6rst  mass.  Twelve  ban  of  io- 
troduolion  precede  Ihc  subject  uflhe  Allegro  Afoderalo,  which  is  (hat 
of  an  el^nnt  niiiiuc(.  This  (rifling  subject  is  a  little  relieved  by 
another,  which  appears  at  the  twenty-third  bar,  and  is  wrought  into 
a  short  fugue;  but  the  first  rccuru,  and  gives  a  light  characler  to  the 
trhoh;  movement,  wliicli  cunc!iiJi;s  in  :i  completely  theatrical  style. 
The  opening  of  the  second  mass  apjicars  in  a  still  more  reprehensi- 
ble taste.  The  voice  parts,  in  the  Largo,  have  not  a  wcc/ effect,  and 
for  the  AIl^o  Modeiato  which  follows,  tee  No.  IS. 

Respect  for  the  vast  genituofHATDir,  and  admiration  for  the  im- 
proveraenls  which  he  has  wrouglit  for  Ibe  mutiGal  ait  ia  many  in* 
stances,  iMtraia  Ijiose  observationi  which  might  be  made,  on  having 
a  theme  like  thit  employed  in  the  public  servioa  of  the  church ;  em^ 
ployed,  too,  in  expressing  audi  sentiments  as  were  felt  by  Him,  whc^ 
standing  in  Ihe  temple,  would  not  so  much  as  lift  bis  eyes  unto  heaven, 
but  smote  upon  his  breast,  saying,  "  God  be  merciful  unto  me  a 

Theroare  persons,  I  am  anarc,  who  are  ready  to.admiraaiid defend 
saoh  nuuie,  on  the  ground  of  novelty.  But  BaGltnMoseI•rilOBldbe- 
l^  tbrt  die  iidHtitBtion  of  one  class  of  ideai  &f  another,  to  vhiob 

T0&>  lU-  MO- C 


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10 


THE  UDSICAL  GTUDEHT. 


it  is  inferior,  is  a  novelty  (if  it  deterve  the  name)  which  iIiDcks  the 
mind  instead  of  filling  it  iritli  imagei  which  are  calculaled  to  affiiid 
pkatare  and  delight. 
Nothing  Would  be  much  more  novel  than  to  see  a  preacher  mount 

the  pulpit  in  military  costume,  and  to  bear  btra  deliver  his  sermon  in 
blank  verse;  but  it  is  unnecessary  to  remark  .what  effect  such  an  exhi- 
bition would  have  on  the  grave  and  sober  part  of  bis  congregation. 
I  am  quite  ready  toadrntt  that  tbe  tno  extracts  just  given  arc  acom< 
plete  departure  from  all  our  prccoiiccived  notions  of  timt  species  of 
music  which  should  lie  t-mploycd  to  heighten  the  effect  of  our  public 
supplication  to  tbe  Di'ily.  So  far  (licy  pri'^ent  us  with  novelty.  Bui 
is  it  that  novelty  wbicli,  from  its  adnplaliuii  (o  our  whole  train  of  pe- 
nitential aflcclions  is  cnlriilatcd  to  promote  (lie  great  end  of  religious 
exercises !  Or  is  it,  on  the  contrary,  such  as  is  likely  to  create  in  us  a 
Tain  and  Irirolotu  disposition,  altogether  remote  from  that  frame  of 
mtad,  in  which  every  one  is  sappoced  to  be  who  adopts  tbalaDguage 
"  JTjrt*  Eldtim"—**  Chmte  Eleiaonf' 

I  hare  dwelt  more  particularly  on  this  point  becanse  it  appear^ 
that  the  time  is  come  when  some  stand  should  be  madefor  the  noblest 
■pecies  of  music  which  the  wit  of  man  can  devise;  especially  as  its 
character  and  even  its  faintest  lineaments  are  in  danger  of  being  lost 
by  the  prerailing  taste  of  the  day,  and  a  neglect  of  that  "divine  phi- 
losophy" by  whiiA  our  taste  should  always  be  governed  and  directed 
in  eveiy  thing  which  appertains  to  public  worship. 

If  the  itndent  would  wish  to  see  compositions  wliich  present  a  re- 
markable contrast  to  the  examples  just  given,  and  which  exhibit  tlie 
finest  onion  of  science  and  devotional  feeling,  let  him  examine  the 
Tcne,  "Aememfier  me,  O  Lord,"  which  is  in  Pdbcell's  anthem, 
"Ogr»  Ibanta/'  and  the  chorus,  **  Hax  nmof  apon  me,  O  Lord" 
in  Haitdbl's  fourth  Chandos  anthem.  It  wonld  not  be  easy  to  find 
many  moremenfa  equal  to  those,  and  there  ate  none  I  think  which  ex- 
ceed tbem  in  the  qoalitiea  which  should  erei  dittingniih  snored  har- 
mony. I  regret  that  the  limits  of  this  work  prevent  me  from  giving 
those  excellent  compositions  at  length,  as  models  for  the  diligent  can> 
f  sidetatian  of  all  who  attempt  to  heighten  religious  impressions  by 
the  aid  of  music. 

'  In  those  passages  where  Hatdn  designs  to  be  really  solemn,  tbeK 
aippears  to  rae  a  want  of  tint  aimididty  which  is  alwaya  attendant  on 
tenederation.   There  li  too  much  atntnEBg  and  0Terw<»kingj  too 


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HIE  MUSICAL  nVDENT. 


II 


many  chromatid,  nncl  too  much  abrupt  modulaf  ion,  and  mere  orchei- 
tml  efiec:!.  The  conKqttcnce  is,  that  in  the  mind  of  an  attentitc  and 
lefieding  hearer  an  impression  is  made  irbich  differs  as  mncfalrom 
Teligioiu  feeling  asthe  feigned  grief  of  an  actor  differs  fiom  that  of  a 
icdniflnrer.  Take  for  example  Uie  "Cnu^xus  tium  pro  twNt," 
ftcMxitbe  '*Agma  DeT'ofthe  £nt  mau;  also  tbe  "Jgtuit  Dd" 
of  thesceoiid.  These  are  tooIoDglobe  extracted,  but  anj  one  wlta 
lakes  the  trouble  to  examine  them  will  perceive,  I  think,  that  there  i> 
too  much  arliflce  in  their  construction  and  too  much  design  to  be  im< 
prewive.  This  is  more  remarkably  the  case  in  the  latter  movement, 
in  nfaich,  preceding  and  during  the  repetition  of  the  vords  Miserere 
noitri,"  the  drum  has  a  paesago  whkh  has  ao  rdallon  vhatever'to 
sentiment,  and  could  only  have  been  intiodaced  for  nhat  ne  may 
tafclycall  dramatic  effect. 

It  must  be  owing-  lo  the  passion  viiicli  our  German  neiglibouts 
hsvi;  for  noisy  instruments  that  thoy  art:  used  on  almost  every  occa- 
sion by  tlie  greatest  nnlcrs.  In  dcfcicncc  to  Diis  lasic  for  the  strepi- 
teso,  Hatdk,  in  numy  parts  of  his  compositions  for  the  church,  has 
(iisturbed  tliat  calm  and  repose  vhich  a  correct  expression  of  the 
prayer  demandi.  For  an  initance  of  this,  ve  have  only  lo  turn  to  the 
conclusion  of  the  first  mass,  where,  at  the  wotdt"  Donanobii  patem," 
tbe  voices  vociferate  and  the  orchestra  thunders,  for  the  "ptaee  vftfcA 
fxutOh  ail  mtderilandmg"  in  a  maoDer  wbich  saronrs  more  of  demand 
than  entreaty. 

So  infinitely  great  and  glorious  is  the  Being  whom  we  worship, 
that  his  praises  can  be  but  very  imperfectly  sung,  even  wlieii  man 
strains  his  highest  faculties  for  the  purpose.  Such  being  l!ie  case,  it 
surely  follons  that  when  a  composer  undertakes  tlie  task  of  writing 
for  the  church,  tlicre  should,  in  all  his  works,  be  a  total  absence  of 
every  thing  puerile  and  common.  No  employment  in  which  the 
aiiuidaii  can  be  engaged  issonobleassacred  composition,  and  in  the 
eierdsaof  it,beshould  raise  bis  imagination  (o  the  highest  pitch ;  at 
tbe  same  time  hia  most  rapturous  flights  should  be  "  coupled  mtli 

Inouidajs,  howerCTitheienTemnUalandMluiatTMnBideTBlIons 
•re  too  much  disrq[aided,  and  is  all  that  concerns  the  higbeatoMer 
of  vocal  music,  I  am  oat  sfiaid  !•  saj  that  ire  arc  vastly  inferior  to 
to  onr  forefUhersi  If  the  rapi^idttoi^  ports  of  Hatsx'b  masses 
•ut  that  patboi  which  arises  fimn  onaBbcted  napUoity,  those  pails 
c  S 


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12 


THE  KUnCU.  gTUPBff. 


vhidi  (date  to  praise  viant  d  ignit  j  and  olenlloii.  T&e  «  Obria"  of 
tbefint  man  ii  of  a  mixed  chancier,  wmsthing  between  tbe  parade 
ud  the  pUyliotMe,  but  tliat  mixed  olMiaotcr  does  not  lairljr  entille 
it  to  adminion  into  tbe  churcb. 

Tbe  commenccmmit  of  the  "  Qttomam  ta  solas  saactus"  were  it 
played  ralhcr  slower  than  (he  author  btix  intHcated,  nouM  remind 
OS  of  a  military  march.  The  lirBt  pari  of  the  "  Credo"  is  light  and 
common  place,  and  the  whole  lias  an  air  of  jollity  nnd  l^viu  imfillin^ 
so  solemn  an  act  of  Cliristian  worship  as  llie  cortrcssioii  of  our  failli. 
The  verse  "  Et  incarnalas  est"  forms  a  great  contrast  to  tlit  move- 
ment which  precedes  it,  and  is  rer/  flowing  and  beautiful.  Of  tlie 
"  QtKj^xtit"  I  IwTe  already  spoken.  In  the  vecond  ihbm  vre  find 
tbe  "  Oloria"  again  deficieiU  ia  cbaraderistic  dignity.  Nothing 
can  be  more  common  place  tban  the  second  pbraw  to  tbe  irords 
Bt  in  terra  fax  Aesm^ia  boiue  vobnialu  Bocare  the  vocal  parts 
at  sU  aided  by  Uie  mode  of  tfaii  accompaniment.  The  "  Benedietia" 
bas  the  air  of  a  movement  in  a  qoariett.  It  is  veiy  Inferior  to  the 
"  Benedklus"  of  the  first  mass.  The  "  liona  nobis  paeem"  is  pre- 
ceded, and  fof  n  fcvr  bare,  accompHnied  with  a  flourith  of  drums 
and  trumpets,  such  as  my  friends  in  London  are  accustomed  lo  hear 
at  their  l^ord  Mayor's  feast.  Those  words  contain  a  most  loloma 
and  impressive  prayer,  and  I  am  compelled  (o  observe,  that  Hatdr, 
in  setting  them,  seems  to  have  overlooked  all  tbe  principles  which 
the  philosopliy  of  his  nrt  dictntes. 

It  would  Nave  carried  mc  much  bcynrid  my  Itmils  hnd  I  rxlcndcd 
luy  remarks  to  (he  whole  six  mosses  wliieh  nri'  knouii  In  us.  But  as 
tlicy  arc  Tcry  similar  in  style,  the  observations  wliich  I  have  ven- 
tured to  make  on  the  two  first  will  be  found  applicable  to  all. 

Notwithstanding  the  defects  of  conslruction,  mode  of  accom* 
paniment,  and  general  character,  which  these  compositions  ex- 
hibit, it  is  not  Gh  a  moment  to  be  snppoiod  that  (hey  do  not  bear 
the  marlu  of  a  niperior  mind  and  (he  luwd  of  a  great  masti^r. — 
Hatdn  is  still  visible  in  them,  and  tbe  charm  of  his  genius  per- 
vades almost  every  page.  It  is  on  this  account  that  I  have  made 
the  masses  a  subject  of  particular  discnssimi ;  since  (be  invention 
and  variety  which  they  often  display,  and  (he  imposing  nature 
of  tbeir  general  effect,  are  very  apt  (o  beguile  the  majority  of 
kearen  loto  a  fergvtfnbiMB  of  tbeit  inberent  defects,  and  their  unfit- 
BMsforthe       pwpoM  to  uhlch  tbqr  an  destined.  Tbii,  1  ronit 


THE  UVmAt  miBENT. 


13 


lepeal,  ii  the  more  necessary  at  the  present  t\ay,  i*ben  there  is  cer- 
Uijilj  much  danger  of  OUT  losing  all  lensc  of  thatcbastcncss  and  Him- 
pllcitj  vhich  ahould  be  found  in  cccleBisostical  coropoiitions. 

Time  ia  nothing  new  in  this  apprehension,  for  the  estraordinar; 
■Uenlion  which  computen  tun  been  led  to  pay  to  the  Blud;  of  dra- 
mliciniiiioi  and  the  influence  which  it  bai  bad  on  Iheii  viitingi  be 
the  chQrch,  have  furnished  ground  of  alarm  to  the  real  musical  critic 
for  Ibe  last  half  centurj :  and  it  a  mucli  to  be  regretted,  llial  his  efforts 
to  oppose  a  great  anil  injurious  misapplicatian  of  tlic  art  should  lie 
connleracted  by  the  practice  of  one  so  celebrated  as  IIaydn.  His 
ponerful  authority  inlruduccd,  as  it  were,  tlic  u{xjra  irito  the 
church,  and  iTc  liiive  lived  to  sec  tlic  opera  followed  by  the  ballet 
■nd  panloniirae  -liul  niorc  ol  this  hereafter. 

i  Lave  scarcely  left  myiclf  any  room  to  speak  of  TTie  Crealian,  the 
greatest  of  our  author't  voonl  productions.  Indeed  it  may  almost 
nppear  intrnsiTe  to  nuke  suy  obwrTaf  uhis  on  a  wodf  which  has  been 
10  long  before  the  public. 

£nt  with  Ibe  freedom  of  lenariE  and  discussion  for  which  I  shall 
always  contond,  I  ventnn  to  declare  that  it  does  not,  in  my  opinion, 
add  essenthilly  to  the  fame  of  Hatdn.  The  Orealim  presents  us 
with  the  same  excellencies  and  defects  as  are  to  be  found  in  tlie 
masses.  Wc  discover  great  invention  and  variety,  joined  to  a  con- 
summate knowledge  of  the  orcliestra,  and  of  the  jMwers  and  peculiar 
properties  of  every  instrument  which  it  contains. 

But  the  vocal  part  is  feeble,  in  comparison  to  the  instrEimenlaJ, 
and  the  style  in  general  wants  elcvalinn.  The  best  p<irls  are  the 
chorussea,  which  scora  to  be  urilten  on  the  Handeliaii  ramiri. 

Concerning  the  popnlarity  of  "  The  hciacns  tifc  telUnj^,"  f  can 
only  atcouiit  Air  it  on  the  ground  of  its  being  the  hirigosi,  and  tlic 
loudest,  in  the  whole  work.  "  It  begins,"  says  a  friend  of  mine,  "  at 
Vaoxball  and  ends  at  the  Opera-house."  Indeed,  considering  the 
magaitiide  of  the  compositioD,  and  the  baud  from  whick  it  cornea, 
we  cannot  fail  in  being  struck  at  the  woeful  coramon'place  of  its 
commencement  and  termination,  which  is  not  redeemed  by  the 
pleasing  trio  in  the  middle. 

The  "  Chaot"  seems  only  calculated  to  excite  gaping  astonishment 
in  the  bearers.  Some  indeed  may  think  tbat.there  is  absurdity  in  the 
attempt  to  paint  disoider  and  confbHan  by  means  of  modulated 
toitnda.  And  it  may  be  obicxved  that  Hatdh,  with  all  his  paint. 


14 


THE  MUSICIL  ITttDETrr. 


has  not  made  his  chttos  sufficienllj  cliaolic;  for  there  are  certain 
{llaoes  vlieie  the  parts  imitate  each  other  in  a  manner  which  alioire 
too  moob  artifice  and  contrivance. 

Thus  while  we  must  alwajrs  regard  this  great  master  irith  the 
lewrencc  doe  to  bis  superlative  abilltiet  as  a  composer  for  iutra- 
menti,  it  seems  impowble  to  asrign'hiin  a  high  phce  among  vocal 
writers. 

In  the  orchestra  he  has  rastly  extended  the  boandaries  of  his  ari, 
and  multiplied  the  sources  of  oar  pleasure.  But  as  a  composer  for 
Toices,  and  especially  ns  a  composer  for  the  chnrch,  he  does  notap- 
pcar  to  have  added  any  tiring  truly  valuable  (o  the  treasures  wa 
before  possessed. 

Yet  let  it  be  rcracmbcrcd,  that  when  I  say  this,  it  is  with  a  con- 
sciousness lliat  there  is  much  to  admire  even  in  those  works,  some 
defects  of  which  I  have  presnmed  to  point  out. 

The  construction  of  the  Tocnl  parts  may  often  be  harsh ;  the  ac- 
companiments may  often  prcpouderale  loo  miicfag  and  the  general 
style  may  be  deficient  ia  psthoHnd  dignity ;  but  on  many  ocoatiooa 
Iboie  defects  do  not  appear,  and  wo  ar*  chatmed  by  panages  and 
morements  full  ot  beautiful  and  correct  expression. 

In  conclusion  1  would  observe,  that  if  the  Musical  Stodbnt 
cannot  go  to  the  masses  and  oratorios  of  Havdn,  as  to  models  of 
Tocal  excellence,  he  will  always  derive  the  greatest  advantage  from 
a  diligent  study  of  them,  in  all  tiiat  regards  elegant  writing  and  the 
management  and  employment  of  various  iastrumeDts. 

L. 


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ON  THE  ORIGIN  OF  THE  SCOTCH  MUSIC, 


TO  THE  EDITOR. 

Sin, 

Hating,  id  your  last  entertaining  and  valuable  Magsrine,  given 
the  lovers  of  music  a  shoit  dissertation  npon  that  of  the  Scotch,  w 
much  and  so  justly  admired,  because  it  spea}:s  to  the  sou!,  it  will  not, 
I  trust,  bedeemed  irapertincnl  in  me  to  present  your  readers  with  an 
Recount  of  its  origin,  wliicli  I  shall  liohy  liiyiiig  before  tliem  a  passage 
or  two  from  Gihai.dus  Cahbbehiis,  trith  their  translations,  es- 
Bcl\y  m  I  copied  llicca  into  my  album  some  time  ago,  though  from 
what  author  I  llicn  tranecribed  them,  I  must  frankly  confess,  I  do  aot 
now  remember ;  nor  is  it  perhaps  material  that  1  should : 

"  la  mnsiciB  solum  inatrameiitls  cammendahUem  invenid  gentii 
istios  diligenliam.  Id  qnibtu  pne  omni  nattooe  qaan  vidimus  in- 
eomparabiliter  «t  initrncta.  JNon  cnim  iw  his,  eicut  in  Britannicis 
(qnibtia  aisuett  lumiH)  InitrumentlB,  faida  et  morosa  est  raodnlatio, 
vcrum  velox  el  pnecepi,  uiavls  tamen  et  jucunda  sonorilaa.^ 

Topographia  Hibemia;,  Si/hestro  Girtddo  authore,  in  Gmiden's 
Anglieo,  Normamea,  Hibermea  and  Cambrica — p.  739. 

So  far  for  Irish  music  (of  which  I  ought  previously  to  have  observed 
that  he  %ra9  speaking,}but  what  follows  immcdialcly  is  commnnicnicd 
to  the  Welch  too  in  p.  Sg9,  Cambrls  Dcscriptio. 

"  Mirum  quod  in  tanta  tam  prwcipiti  digilorum  rapacilate  rausica 
servatur  proportio;  et  arte  per  omnia  indemni,  inter  crispatos  modu- 
1m  oiganaque  mnitiptioller  Intricata,  tam  suavi  velocilats  tamdiapari 
parhate,  tam  diicoidi  concoidift  conaona  reddltur  et  corapletor  bar* 
■Bonia,  (ea  diatenaroa  tea  diapente  chords  ooncrepeDt.  Smpei 
ttmen  ab  ae^i  inoipiuiit,  et  in  idem  rcdetmt,  ut  onocta  aob  jncnnda 
■onoritatia  didcedfaie  oomplesntar.  Jam  anbtiUter  modubis  inttaot  et 
ntm!t,  slcqae  sub  obtiuo  grossiotts  cbordE-  sonitn,  graciliumtiiini- 
(ii>  Ucentiui  ludantf  lalentiiu  deleCtant,  latcivinsqiie  demglcent,  ut 
pairi«rti>  maxima  vidntiu  artero  cehn  tanquam 

"Si  lateatf  profit,  fnat  an  d«pieina  pndoiem."  


16 


ON  THE  0BI6IK  OF  TBI  SCOTCH  HVSIC. 


"Hinc  BGciJit  ut  cb,  qaa  BiibUIiiu  iDtuentibni  et  ftitii  area  tut 
Bonte  dilceniBiitibDi  internu  et  inefiatnlea  companuit  animi  delicia^ 
ea  non  aUcDclcnUbu*,  led  quiui  Tidendo  non  rtdentitm^  et  nodiendo 
non  inlelligentibos,  aures  potius  onereDt  quam  delectent  et  tanquam 
confuso  inordinatoquc  elrepila  invitb  anditoribos  fastidia  pariant 
taidiosa." 

80  far  Ibc  account  of  Ireland  (observes  my  aathor)  is  comniunica- 
ted  to  Wal»  alfiol  But  what  rolluwB  isonlj  in  the  account  orireland. 

Notandnin  vero  qsod  Scotia  et  Gwallia,  hiec  propagationix,"  (a 
term  oiedsoleljfor  propaginis  atTopacilale  before  for  rapidilale,)'*  lUa 
commcationis  etaffinilalis gratis,  Hibetniam  in  moilulis  sraulA  imi- 
taii  nitunlur  disciplinS.  lliberiiw  quidem  tatiUim  dDobns  utitur  ct 
delectatut  instru mentis,  cjlliari  tciUcetet  t/mpaiui;''  (G^lharfi  in 
ether  uithors  lyra.) 

"ScottatribuBjC^tharfi,  IjDipBaoet  cluHo;  Gwallia  vera  cytharft 
titdls,  ct cfacKo."  "Cbori^"  (remarlu  our  antbor)  is.eTtdenlly  thv 
*'cro«d,"  the"cTota  Britannn,"  af  Veaantiiu  FortunatuB  lhe"cotTth," 
of  Wales  at  present,  derived  by  llie  Welch  scliolars  very  judieioiuly 
ff  om  the  Greek  chorus,  and  so  traiisrurmed  into  "  clioro"  by  Giraldus. 
Anil  liielibiic  are  Ihe  bagpipes,  called  by  Buchanan  "  Tibia  utrica- 
lari,"  and  by  Good  aUo  in  Camden  793,  for  the  Iri!,h.  "^nei« 
quoquemBgis  ntuntar  chordis  Iliberni,  quam  de  coris  faclis — multo- 
tum  autcm  opuiioae,  bodie  Scotia  non  tuntum  magislram  lequipa- 
ravit  Hiberniain,  veram  ctiam  in  miKicfi  periliu  Inn^e  prsvalctet 
pnccellit.  Uudeelibi  quasi  fonlcm  nrlisjam  rcqiiintiU." 
,  "  I  find  the  commendable  history  u/  lliis  niitioii,"  b:iysGiRAi.DUs, 
(boagb  himself  a  Wclcbman,  with  a  dignified  ingenuousness  in  his 
description  of  (he  Irish  mannert  to  early  ai  the  twelfth  century, 
"onljin  their  musical  instrument! t  in  which  it  is  iucempmral^  oeB 
mitrttclcd  bej/ond  eatery  nidk-t  lluil  I  haee  teen.  For  (he  modulation 
it  not  in  these  as  in  Ihe  Drilish  instrumenli  to  which  we  ate  accaa- 
tonedy  slow  and  morose,  but  swift  and  precipitate,  yet  sweet  and 
pleaBBnt."  So  far  liic  author  speaks  only  of  the  Irish,  but  what  he 
ftirtber  MsetU  he  has  applied  equally  to  the  Welch  in  a  later  work : 
*<  The  wonder  is,  that  in  such  a  jtrecipitate  rapidity  of  fingers  the 
musical  lime  is  kept ;  and  by  au  art  never  lost  through  the  whole, 
snidat  the  varied  tneunre*  and  the  mutliplicily  of  iotricata  tones, 
vitb  ft  sweetneas  so  wii^  with,  a  pari^  v>  unimpaiwd,  witba  con- 
cord M  diKanlaBtr  the  anitdf  iB-xmimA  iUi,  whefhev-it  inn* 


nn  TUT,  ORIGIN  OF  THE  SCOTCH  UUSIC.  17 

tliroiTgli  four  nolps  or  p:t[entls  to  five,  Yel  tliej  always  begin  with 
a  soft  air,  anil  to  a  soft  air  trtgrn  at  last,  (hat  the  whole  may  be  com- 
pleted with  tlie  bweeliicssofa  plea^g  baraony.  So  subtly  do  tlejr. 
enter  aod  pass  tb  rough  the  meBsnres,  and  eo  much  nnder  tbe  Uuntet 
■onad  of  tbe  heavier  cbordi  do  the  (Inhljnga  of  the  sluidcr  play  with 
greater  freedom,  delight  with  greater  lecresy ,  and  soolhc  with  greater 
wantonness,  tbat  the  greatest  point  of  art  seems  to  be  in  hiding  tlie 
art,  m  if 

"  U'iicii  kill  il  pmfils,  iilicn  dolcclctl  sliames." 
"  [Icnce  it  comos  tliaf  lliosc  nirs,  rehicli  cnrry  irilprnal  and  incfliible 
ilcliglit  of  mind  lo  sucli  as  look  raoic  siil)lly  inlo  (lie  business,  and 
discern  tlie  secrets  of  tlie  arl  aciildy,  do  raih.T  luidl  llian  deligliKhe 
ears  of  siicli  as  attend  not  lo  llit-iii,  iii  scificig-  do  mil  si'e,  or  licaring 
do  nut  underslaiid,  and  liy  a  conlWd  uJiiiicaiiiug  cmsb  of  music, 
in  the  unwilling  hearets  a  faligiic  and  disgust." 

So  far  the  account  of  Irelaodis  coromnnicaled  to  Wales,  and  what 
fallows  is  GonGoed  to  Ireland  again  : — 

"  But  it  must  bo  observed  of  Scodand  and  Wales,  iUs  ta  the  tloek 
of  att,  that  as  having  affinity  and  commerce  with  it,  by  an  emulous 
discipline,  labour  lo  imitate  Ireland  in  its  measures.  Ireland  indeed 
USTs  and  deligliU  in  only  two  instruments — the  harp  and  tbe  drum, 
f-colljiui  li:nllirec— llicliarp,  the  drum,  and  ilic  crowd.  Ititt  Wales 
lias  tlic  luirp,  lli^  ba:;-pij)es,  aiiil  (lie  crowd.  Tlie  Irisli  use  strings 
of  brass  rather  lliaii  lliuiigs  nf  Itiillii'r  ;  yet,  in  the  opinion  of  many, 
Scullniid  liai  at  lliis  day  nut  unly  cquidlcd  Aer  inhlress  Irebmd,  but 
is  fv,  n  far  l,c<j,md  nm/  abotr  /irr  in  Misirat  s/>-(V/.  Tlicrcfore  they  now 
seek,  as  it  were,  for  the  tuuijlain  of  Ibe  art  even  there." 

Tbese  are  curious  passages,  not  only  as  Ihcy  lend  lo  establish  the 
origin  of  the  Scotch  music,  ubicii  I  belii^ve  ta  not  very  generally 
Juwwn  to  have  been  Irish,  but  as  Ibcy  ilirow  great  light  upon  the 
music  at  lat^  of  our  ancestors,  which  in  that  early  period  it  seems 
GoniUted  both  of  melody  and  barmony.  And  in  regard  to  Scololi 
and  Irisli  airs  there  are  in  the  present  Jay  many  of  them  common  to 
both  nations.  "  I  have  met  with  a  musical  Highlander  in  BrcadaU 
lime's  fi-'iicibles,"  says  Burns  in  his  correspondence  wilh  Mr. 
TiioMso.v  ;  vide  his  Works,  vol.  4th,  p.  92,  "  which  are  quartered 
here,  who  assures  rae  Ibnt  he  wet)  remembers  his  mother's  singing 
Gaelic  songs  to  both  Ilobin  Adair  and  Qramaehree,"  'Vbey  cer- 
tainly  have  more  of  the  Scotch  than  Irish  taite  in  them.  This 


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OS  TllL  ORIGIN  or  TIIV.  SCOTCH  MUSIC, 


mnii  conips  from  (ho  vicinilj  iif  IriTerness  ;  so  U  could  not  bo 
any  intcicoiinic  mth  Irclniid  thai  could  bring  tticm  {  except,  Vlhat 
I  sbTcwdlj  suspect  to  be  the  cnsc,  the  tmndcring  mlufrela,  hUFpAM 
and  pipers,  oscd  to  go  frcquenll;  crrnnt  through  (he  Hilda  bMh  of 
Scotland  and  Ireland,  and  so  some  iavourile  airs  migbt  be  eommoit 
taboth.  A  case  in  point: — They  have  lately  in  Ireland  pnblbbed 
an  Irish  air,  as  Ihej'  saj',  called  *'Cann  du  D^A."  The  bet  If,  In 
a  publicfilion  of  CoRRi'fi,  a  great  nhile  ago,  yaa  will  Itnd  the  same 
iiir,  c.illcd  n  IJiglilniid  one,  »i1h  a  Gddic  song  ect  to  it.  Its  name 
there,  I  lliink,  is  J)r,in  Gaoil,  nnd  a  fine  ait  it  Is.  Do  ask  honest 
Allan,  or  tlie  Kcv,  Garlic  Parson,  about  Ibese  matters."  The  pre- 
ceding passages  from  (Iiii .\r.ijr?  ymi  will  pcrceite,  Sir,  satu&C- 
toriijr  account  for  this,  iicviTtlicli  ss. 

As  lam  not  myst'lf  an  antiquary,  Mr.  Editor,  cither  in  the  masicat 
or  Uie  comraon  way,  I  shall  not  pretend  to  giro  my  opinion  upon  t&e 
aabject — it  would  be  follj  if  I  did  ;  but  I  do  wish  that  through  (be 
medinm  of  your  valuable  Magazine,  some  one  ofyour  Correspondenta 
voold  fevotrt  ni  with  a  disaertslion  upon  the  Riae  and  Ptogreaa  of 
Hntic  in  thosekiagdoinsirliicb,  nomnltedj  form  part  of  the  British 
empire  1  xmie  one,  who  has  ^eatei  leianr^  meana,  and  ahQillei,  for 
the  prosecution  of  this  enquiry,  than  have  follen,  Sir,  to  the  ahaie  of 
Your  obedient  SeivanL 

JUrENIS. 

CtKbHJie,  Jagttit  aik,  1 830, 


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19 


TO  raE  EDITOR. 

Sra, 

f  Triiiismit  yoiittie  following skctdi,  nhidi  h  n  Irniiacrlpl  nf  ulint 
passPil  tlirougli  the  mind  of  n  man  of  gcniir;;  nn  plajiiig  llic  piece, 
willi  iho  pirrson  who  now  addresses  yuit.  The  objoct  of  instrumi^ntat 
inii!,ic  is  not  alone  to  inspire  organic  pii^aaiiic  hy  sounJa,  bullo  create 
iiitclloctii.il  liclight  by  raieing  imiijjc,  t'molioiis,  anil  passions  in  the 
mind,  lly  some  it  may  Le  llioiiglit  a  mere  riiapsoily,  but  there  are 
others  wUo  will  compare  their  own  ideas  witli  tlie  slcctcli,  and  it  may 
thus  tend  to  decide  boir  far  insdumcntal  mutic  powetses  (be  power 
of  expressing  the  notions  of  tbe  conipo&er,  who  nione  can  know  whe- 
tber  his  thooghls,  during  the  fervor  of  coinpositiAn,  bore  any  analogy 
to  those  of  liis  translator. 

I  am,  Sir,  yonr'a,  &c. 
J/crl!.  C. 


A  Sketch  of  a  Translation  o/Bcethocen's  Trio,  op.  70.  No.  1. 

Figure  (o  yourself  an  extensive  green,  on  tbe  skirls  of  a  wood,  oa 
a  fine  Eummer's  day — it  it  the  day  when  all  the  inh^itants  of  tbe 
neighbouring  villages  meet  ut  a  Uir  in  that  place — you  hear  the 
confused  noise  of  the  gathering  crowds.  Soon  after  this  opening, 
>'ou  see  a  ewect  young  woman,  uho  having  [bought  herself  deserted 
by  her  lover,  is  reiidy  lo  fainl  upon  meeting  him — be  explains  and 
apoiogizce:  tlic  crowd  intcirupts  Ihera  several  limes,  but  (heir  ten- 
dor  dial«goc  is  heard  wijeiicver  the  noise  ceases.  Some  bars  in 
triplets  (haw  your  attention  lo  a  few  clowns  who,  a(  a  diatancet  are 
atlempliiig  to  set  up  a  dance. 

Tfic  ntta<;io,  lidwcvcr,  brings  OD  an  extraordinary  cbange— tbe 
sky  is  lowering  and  oTcrcasl— (be  conolry  people  foresee  a  tre- 
mendaus  slorm — the  wind  rises  by  degrees,  afiec  a  meet  though 
melancholy  calm — ^you  hear  It  in  tbe  long  discordant  notei  of  tbe 
vfoltn  and  hast,  while  Ihe  left  band  ef  the  pianiit  makes  tbe  thunder 
Toli  in  deep  and  awful  sounds — still  yon  hear  the  lovers  In  some 
sweet  melodies,  which  the  storm  cannot  silence.  Tbe  pelting  of  the 
run,  and  tiie  whistling  of  the  wind,  conliuue  for  a  considerable  time; 
D  2 


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BEETHOVEN'S  TRIO. 


but  the  Giidden  iiUroJuclion  of  a  niajor  key  shews  a.  break  in  tlic 
clouds;  rain  and  thunder  succeed,  but  tlic  atmospljcrc  is  nov  gra- 
duallj  clearing  up.  After  some  acute  and  prolonged  notes,  ^rhicli 
imitate  the  more  distant  bowlings  of  tlie  Mind,  a  shower  of  large 
thin  scattered  drops,  expressed  by  the  clashing  movement  of  a  pas- 
sage in  dcnii>c]enii-Mmi-quaver^  indicates  approacbing  serenKy. 

The  peasants  come  out  of  the  wood  vith  great  alacrity,  bal  tbe 
yiEw  of  some  dark  cluuils  still  Itovering  over  the  plain,  produces  a 
s  lid  den  check  on  the  uholc  compiiny.  This  doubt  stops  now  and 
Ihrn  their  groiring  mirth,  until  life  and  malion  become  general. 
The  lovers  Ihcinsclves  liaviiig  spilled  their  qnarrei,  join  iu  the  amuse- 
mcnis,  and  are  nearly  lost  in  the  crowd.  The  scene,  henceforward, 
becomes  txlrcmdy  varied,  aiitl  (lie  imagination  is  scarcely  allowed 
to  divell  long  on  any  pailicular  oiijecl. — There  is,  however,  a  very 
prominent  and  chamclcrislic  group  in  this  part  of  the  piclure;-— it  is 
that  of  some  young  girls  ronijiing  together,  and  laughing  in  tbs 
truest  spirit  of  country  coquetry  at  a  set  of  lads  vho  follair  them  at 
some  distance.  As  tbe  piano  and  violin  rise  by  semitones  in  a  series 
of  thirds,  you  see  the  girls  receding  nithout  laming  Uieir  Iscei,  and 
balancing  their  steps  backwards,  until  tbey  settle  into  an  nadulating 
million  like  dancing,  TIic  prettiest  girl  now  steps  forwanl,  and, 
during  a  hvelv  gidiJy  solo  of  ihe  piano,  she  trips  it  along  in  front  of 
llic  fronp.  A  inonient  after  yon  hear  a  loud  scream,  and  flic  gitls 
set  oil  lull  speed,  as  (lie  hds  Iry  to  fiighlen  llifni  by  a  charge 
e«  JMw^ ,■  but  (lie  girls  toon  fi.ce  Ih.'ir  piirMicrs,  iiiul  Ihc  same  plajfal 
scene  is  [Cpcali;!!  a  secunil  lime ;  ;il  last  iIk'm;  two  groups  disappear. 
The  rest  of  tlie  moveinenl  has  all  the  variely  of  Ihe  conlusetl  a.sscm- 
hlnge  it  was  intended  to  describe — singing,  dancing,  leaping,  moving 
ill  all  diieclionS]  the  crowd  amuse  themselves  and  all  those  who 
eitbcr  understand  Bextuoven's  language  or  arc  happy  enough  (o 
thiak  they  do. 


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TO  THE  EDITOR. 


Sin, 

The  remarks  in  the  last  Article  of  your  seventh  Nurober,  upon 
Ihc  Oiatorios,  or  grand  SeIec^an■,  aa  notr  performed  at  the  Londoa 
thrntres  in  Lent,  are  very  jurt;  as  vfaen,  the  theatres  being  closed  to 
dramatic  representations,  permission  was  given  for  the  performance 
of  sacred  music,  it  \rns  iluiiblless  intended  lo  tolerate  sacred  music 
oalt/,  and  not  a  mixture  of  sacred  and  secular.  For  cerlainlj  if  in 
consequence  of  tlie  chiirclica  Lcing  opened  with  serraoni  in  some  of 
them  on  Wednesday  ajid  Friday  moinii^  in  Lent,  it  vrss  thonght 
right  by  our  forefathers,  as  a  mattet  of  ConsEEleiicy  as  well  as  pro* 
pricty,  to  abstain  from  tlie  regular  amasenients  of  tbe  iheatre  in  tbe 
evening,  it  never  coald  bare  been  intended  lo  connive  at  the  per* 
farmancs  ofopavs,  or  sdections  from  thenr. 

But  it  may  perhaps  be  observed  that  some  of  those  denominated 
and  considered  regular  oratorios,  as  Acts  and  GalaleOt  Akxandei's 
Feast,  and  others  cannot,  wilh  propriety,  be  accounted  sacred  music, 
My  move  Iban  the  operas  of  Don  Giovanni,  Zauberfloile,  &C.  and 
llii^  cvrl^iinl^  is  the  caiC:,  if  (be  n:ords  of  tliem  be  principally  consi- 
dered. Bill  tt  illi  rtspcel  lo  llio  mmir  of  the  above,  with  that  of  the 
Choice  of  Jhrcu/rs,  VAIIrgro.,  Priisnoso,  iuid  some  olliers  of  Handel 
of  llic  same  kind,  as  it  is  composed  in  miicli  tlie  anmc  grand  style 
Kith  his  aocied  oratorios,  it  has  ever  been  usual  to  account  llicse,  if 
not  sacred,  yet  teriout  compositions,  and  lo  class  them,  in  consi- 
deration of  their  freedom  from  the  levity  and  less  complicated  style 
of  theatrical  muaic,  vith  oratorios  rather  than  vrith  operas.  The 
muric  of  these  lias  also  a  still  greater  preponderance  over  the  wordr, 
from  their  being  never  performed  wih  the  adjnncts  of  scenery  and 
actiun ;  as  I  l>eIicTeno  auditors  ever  feel  inclined  to  sympathize  wilh 
poor^ciV  and  Galatea,  in  tlicir  persecution  by  tlic  sava^I'o/jfpkeme, 
whicli  perliaps  they  would  do,  were  they  to  see  him,  in  character, 
hurling  the  rocky  fragment  at  the  enamoured  swain. 

Oa  the  other  band  I  admit  that  the  oratorb  itself  ought  to  be 
divided  into  the  sacred,  as  T?ie  MesAA,  Samson,  Judai  MmcoImbus, 


22 


LENT  OB&TOItlO§. 


ftc  and  the  teeular,  as  Alexahder'i  Frasl,  L' Allegro,  Petueroto,  See. 
and  IhM,  not  onlj'  in  Lent  but  at  all  i'me»,  they  iboutd  be  kept  du- 
«tinct  iiroin  and  not  cgafhiiiidcd  wiUl  Cftcli  oUier.  If  howem  it  be 
deemed  neceewry,  for  the  sake  of  gratifying  all  tastes  at  bat^  or 
tnhcelltmeaus  concerts,  thai  (he  sacred  anJ  secular  style  ihould  be 
both  introduced  in  the  same  conceit,  ii  might  yi:t  be  so  arranged  aa 
to  allot  an  act  or  part  to  cacii,  and  not  intcnnitigle  tbem  indiscri- 
mioately  in  tbe  same  act  or  division  of  the  concert,  as  is  now  loo 
fVcqucotly  tbe  case. 

Some  pious  Christians  indeed  object  to  the  performnncc  of  sacred 
music  at  all,  even  The  Messiah  itself,  as  a  matter  o(  enlcilammenf,  at 
a  theatre  or  concert  room ;  and  1  must  confef.  Ili^il,  considering  it  as 
a  matter  of  eiiterlainincnl  or  amusement,  1  am  of  picllj  mucii  the 
same  way  of  thinking.  When  however  a  ptrforraaiice  of  sacred 
music  takes  place  in  a  church  in  a  morning,  ns  at  (lie  annual  meet* 
ingi  of  the  three  cboirs,  and  ollicrs  of  (lie  same  kind,  so  far  ftom 
conaiderin^  it  in  Ibis  light,  I  always  go,  and  should  hope  othera  da 
tlie  same,  with  much  tbe  same  feelings  as  when  1  attend  divinCBer- 
vice  on  a  Sunday  i  and  the  sameklnd  of  decorum  is  always  obserred 
aa  in  the  service  of  the  church,  all  methods  of  expressing  either 
applause  or  disapprobation  being  excluded ;  the  audience  also,  as 
well  as  the  singers,  usually  standing  up  in  the  grand  chorusses. 

In  the  same  article  are  some  judicious  observations  upon  (lie  Bailie 
Symphonies  becoming  now,  as  it  should  seem,  the  favorite  conclu- 
sion of  our  Lent  oratorios.  In  these  I  likewise  pcrfeclly  acquiesce, 
us  surely  nothing  can  be  more  absurd  and  barbarous,  thnri  to  bring 
the  imitation  of  what  in  reality  is  highly  disagreeable  und  annoying, 
as  neat  fa  life  as  possible. 

As  an  instance  of  this,  I  cannot  help  tbloking  that  Ihe  imitaliom 
of  cannon,  by  means  of  the  double  dtom,  first  introduced  at  the 
commcmoratian  of  Handbl  at  Weslmlnstet  Abbey,  (wh^  Indeed 
(be  distance  at  vhicfa  they  vere  placed  from  the  audience  nach  sof- 
tened and  improved  the  efiect),  and  aRerwards  continued  to  the  pre- 
sent lime  at  all  other  grand  performances,  have  been  and  still  are 
carried  to  loo  great  aa  extreme;  because  (and  this  I  take  to  be  Ihe 
grand  raialakc)  instead  of  imitating  the  disltmt  effects  of  artillery, 
which  might  occasionally  produce  a  highly  impressive  effect,  with- 
out  any&iitd  of  annoyance  to  Ihe  most  delicate  feelings,  the  imitntioQ 
is  what  none  but  a  sailor  or  a  bombardier  wonkt  ivish  (o  hear;  for 


LENT  ORATORIO? 


23 


nho  could  find  any  luxury  in  standing  close  to  a  piece  of  ord- 
nance at  tbe  time  of  its  being  fired  off  I 

To  •elut^mls  my  MDtliMiitB  upon  fltb  tfiOKii  iwtion  of  intto- 
dncii^  mare  noise  into  barmonj,  I  shall  conclude  tbe  present  srtide 
with  a  story  once  (old  me  by  an  Irish  yonng  lady,  though  I  feat  I 
shall  bj  no  means  be  able  to  gtm  tt  either  in  her  vrords,  or  in  the 
lively  manner  in  which  she  related  'A.  Tbe  trnlh  of  the  story  must 
of  course  rest  upon  the  authority  of  my  fair  inrormer. 

"  Within  ayear  or  twaaner  the  commemortilion  ofHANDBL,  when 
in  r>  baiKl  of  five  hundred  performers  ((he  largest  ever  then  Imoirn 
in  England)  the  double  drums  nnd  (romboiics  were  first  brought 
info  use,  it  nns  agreed  hy-  the  raiinicnl  norld  at  Dublin,  that  th<it 
city  should  also  have  its  commemoration  of  Handel.  Accordingly 
a  much  larger  hand  than  had  ever  been  accumulated  in  that  king' 
dom  was  engaged,  ai  a  malerlal  ingredient  in  which  the  double 
drums  were  pro[)0sed  and  applied  for — but  Iheejpenceof  transport- 
ing them,  with  their  performer,  being  ifaaught  too  great  to  risqne,  tbe 
folloiring  expedient  (acconliog  to  tny  lively  informer)  nas  adopted, 
to  ftrodace)  ift  addition  t»  the  nrdiitai]'  kettle  drams,  flui  deeind 
imitation  of  artillery  in  the  Dead  March  in  Sanl  i^A  ttosiolan  Wtri 
stationed  at  the  back  of  the  orchestra  in  the  Cathedral,  with  a  mallet 
in  bis  hand,  who  was  to  accompany  the  occasional  emphatic  strokes 
of  the  dram  intended  to  imitote  cannon,  nith  a  smart  application  of 
the  mallet  to  an  (-laHlic  board  which  was  nlaccd  there  for  the  purpose. 

"  Now  it  happened  that,  just  under  tbe  front  of  the  orchestra  there 
were  two  or  three  elderly  ladies  sitting,  who  no  sooner  heard  the 
sound  of  this  new  musical  iuEtrument,  than  tliey  began  to  scream 
out  and  fried  to  effect  tbcir  escape,  lliinkiiv!,'  fbat  some  of  tlie  seaf- 
folding,  or  temtiornry  oiciiesira,  iras  giving  iiny,  and  the  whole 
KSdy  to  fall  about  Ibeir  ears,  which  being  t>eiccivcd  by  a  gentleman 
dear  them,  he  begged  tbe  ladies  to  keep  their  places  and  be  peiv 
fitctly  at  cose,  Assuring  them  there  was  nothing  to  fear,  as  tbe  sound* 
Which  so  greatly  abrmcd  (hem  Were  a  part  oflhe  miaici" 

SBNEX. 


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24 


ELEMENTS  OF  VOCAL  SCIENCE. 
ChaptfT  4. 

ON  THE  ELOCUTION  OF  SINGING. 

HTll  E  5ii|)(!Hori(y  of  vocal  over  in^mental  muHC  comiitB  la  ibe 
more  complete  nnd  tlefinite  exprestion  irlilch  the  combination  of 
wards  ivilli  notes  alfixeg  to  a  composition.  A  just  arliculalioQ  ia 
Uierefore  equivalent  to  the  entire  properly  by  wIiicIj  lliis  prc-emt- 
nence  is  conferred  and  securnl,  innsLiiuch  as  the  ailtlition  of  the 
voice  may  afibrd  to  a  band  a  new  auxiliary  and  a  finer  species  of 
WHind  Ulan  oao  be  'prodaced  bjr  an;  imtrumeat,  but  uDlew  the 
-irotds  be  diitiaetlr  prononnced,  it  bestows  notbing  beyond  this  ad* 
dition.  To  give  effect  to  melody  requires  ear,  voice,  and  scieace — 
to  convey  its  peculiar  beauties  and  to  adapt  tliem  to  sentiment,  de- 
mands a  just,  an  nrticulale,  a  polislied,  emphatic,  and  even  im- 
passioned enunciation  of  every  syllable. 

Thus  tbe  eloculion  of  the  art  divides  itself  into  two  distinct 
branches,  one  of  which  is  technical,  the  other  iutelleclnal  and  philo- 
Eophical.  The  first  is  simply  employed  upon  pronunciation,  nbich 
it  purifies,  rf^ulates,  and  ad.ipls  ti>  the  syncronous  utterance  of 
sounds — till'  cillicr  cmbrnces  tlio  conception  ol  llic  sense  of  (be  author, 
the  draiualic  expression  of  the  ijastion,  anil  ;ibovc  all,  a  nice  judg- 
ment as  to  the  degrees  to  which  expression,  under  the  various  situa- 
tioni  in  which  the  art  is  exercised,  may  with  propriety  be  canted. 

Simple  as  the  mere  act  of  onancia^on  appeals  at  the  firat  inspec- 
tion, it  is  in  fact  very  difficult  There  are  fe?r  person*  botverer  well 
educate,  who  arc  wholly  free  from  the  defects  of  a  provincial  or 
scholastic  dialect;  the  impresiiotu  of  early  lifh  conlinnenot  nnfre- 
quenfly  thronghout  the  riper  ages — to  refine  away  these  cnidiliea, 
afh;ctalion  too  often  is  called  in ;  even  particular  schools  give  a 
cast  In  speech  i  the  pronunciation  of  foreign  languages  is  apt  to 
iuCroiluce  impurities,  Slid  laiit,  though  not  least,  come  slight  defects 
of  nature,  wliicli,  scarcely  perceptible  in  speaking,  are  distinct  and 
disgusting  fiiulls  in  singbg.  The  fomatioo  of  the  mouth,  tongue, 
jaw  bones,  and  other  parts  employed  in  aiticulatioii,  are  oflen  Im- 


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ELEHENTI  OF  TOCAL  SCIENCE. 


25 


perfect.*  Indepmikiit  of  all  tbeie  is  the  change  wtiicli  Ike  combj- 
nation  of  •peaking  and  linging  brings  ftbout  in  Ibc  organs  ttf  soiiml 
And  of  fpoeelu  To  preserve  unifbnnitjr  of  Toicing,  or  to  increase 
power*  tbe  words  are  sacrificed.  A  note  too  faigb  for  tbe  ginger's 
com  pus  is  attained  at  the  expence  of  the  Billable.  Tlie  snbstitn- 
lioa  of  tbe  more  open  for  the  doser  vowds  is  &  very  common  re* 
HHirce  in  the  ezecntion  of  passages  Hbich  lie  beyond  easy  rcnch.  In 
almost  all  Ibese  instances  tlie  tone  and  tie  words  sufTer  together,  and 
Kt  completely  are  llicse  purposes  fitted  to  cacli  olliDr,  tlint  impure 
speccb  generates  impure  tone. 

We  have  nkfaily  spolipn  of  llic  acqnisilion  of  tone  aiiil  of  the 
prrlirainary  [itacfice  by  iihicti  (lie  ilmlciil  is  to  be  iriilructcd  in  Ihc 
art  of  prod  11  fi Tig  iinil'nrmily  of  voii:iii5,+  in  coiijiinclioji  with  Ihe 
several  vowels.  The  method  saiictiuiieil  by  long  experience  is  to 
sing  tbe  notes  of  tbe  diatonic  scale,  through  the  entire  compass  of 
the  mice,  first  nsug  the  word  oA,  pronounced  rather  close  timn  open, 
M  Ihe  vowd  is  spcAen  in  the  word  /itfAer.  Tlie  scholar  having  by 
(his  mouis  fixed  tbe  habit  of  producing  b  pure  and  nnifbrm  tone  as 
toqinUi^,  together  nitb  the  power  of  increasing  and  diminishing  the 
qnantity  from  the  most  deticBte  j^anutitm  to  the  riohest  JM&riino 
that  the  rotce  is  capable  of,  will  proceed  to  unite  tbe  intenalof  the 
ntoe  scale  to  tbevords  do,  re  (pronoonced  nij,  mi  (pnuionnced  me), 
fa,ui,ta,ti  (pronounced  te),  do-t  Thus  tbe  organs  are  pr^artd 

*  "Diete  are  seven  species  of  jisetlismus  or  detect  in  the  arttcalation  of 

1.  Ilnilans,  !n  which  the  wards,  especially  the  tint  ones  of  a  diiooinsc,  ore 
not  easily  prfinounccd,  anil  not  wUliout  a  friiijacnt  repetition  of  the  Sntsyl- 

1.  IlincL'n',  in  n  hich  the  sound  of  the  letter  R  is  ultetyt  aspirated,  andu  it 

3.  LftllanK,  in  which  the  sound  of  the  li'tter  L  becomes  more  liquid,  or  is 
pronounced  instead  atR. 

4.  Kniolli'-iis,  ill  which  the  hnrd  letters  are  clmnged  into  the  lofter  ones, 
and  thus  the  letter  S  is  much  used. 

5.  Balbuticns,  in  which  tiy  reason  of  the  tongue  being  large  or  swelled,  the 
Uhial  letters  are  belter  heard,  and  oflea  pronounced  instead  of  others. 

6.  Acheilos,  in  which  the  labial  letters  cannot  be  pronounced  at  ail,  or  with 
difficullj-. 

7.  jjtgastomalum,  in  which  on  account  of  the  diiisioD  of  Ihe  palate,  (he 
gattural  tetters  are  Id  perfectly  pronounced  Souvaget,  Genut,  1 13. 

t  Sec  to!.  '2,  p.  '255. 

X  We  are  not  speaking  of  the  ulterior  MOi  of  Sid-fab^bnt  of  As  Meie 
attainment  of  pronouncing  Ihc  io»cls  [n  cotijtmctloa  with  tbe  notes.' 
VOL.  III.  MO.  IS.  £ 


ELBHEHTI  OF  TOCAI.  tCIINCE. 


fur  the  mora  elaborate  process  of  ^1  the  conbinBtiont  which  worda 
dumand. 

Il  will  be  obriona,  that  to  ling  with  a  perrect  aiticulalion  the  sin- 
ger most  first  be  iiiKlrucled  in  speaking  with  a  pure  and  polished 
eimnciatioo.  To  effect  iim  purpose,  1  recommend  strict  attention 
to  Ibe  pronu|i elation  of  persons  highly  educated  and  accu&lomcd  lo 
tlie  self-imposed  restraints  of  elevated  society — a  minule  and  accu- 
rate understanding  and  observalion  uf  ttie  diatiiiclioiis  Ihey  mate ; 
I  H'ould  also  urge  upon  tlic  student  tbe  ^atnc  regard  lo  llic  pionun- 
ciMioii  of  llie  best  nctors,  for  perhaps  such  splendid  iusfances  of 
genius,  learning,  and  application  as  existed  in  tbe  persons  of  Mas. 
SiDDONS  and  Mr.  John  Ke.ublc,  afford  tbe  finest  examples  of  the 
purity  and. the  eleganciet  of  speccli.  Tlic  cdcct  of  these  observations 
may  be  tried  and  cultivated,  first  by  reading  aloud,  and  nest  by 
sia^ng  recitative,  which  afford  at  once  the  best  tests  and  ezerciieai 
By  such  means,  and  by  such  abne  the  latent  faculties  for  speaking 
may  be  developed,  or  the  errors  c<»Tealed.  It  is  certain  that  the 
organization  of  some  persons  appears  to  be  roost  beautifully  adapted 
to  utterance,*  while  others  labour  under  great  natural  impedimenls- 
I  have,  however,  experience  to  warrant  my  asserting  that  most  of 
(he  difficulties  these  obstacles  prcscat,  nrc  to  be  overcome  by  due  care. 
One  of  tbe  most  articulate  and  polislieil  sbigcrs  1  ever  beard  in  re- 
gord  to  pronunciation,  wa^  uci  uinriteur,  wlioae  tocigue  was  loo  large, 
but  who  hod  obliterated  every  trace  of  the  defect  by  exercise  and  vi- 
gilant Gorroction.  I  can  tberefore  only,  in  respect  of  this  the  lower 
branch  of  tbe  arl,  repeat  the  caations  I  have  jnst  before  given  against 
those  obvious  dcfecls  enunieraled  above,  and  which,  if  not  generated, 
are  nottured  into  continaed  bnog,  principally  by  careleai  indiffe- 
rence. Let  me  agam  particularly  alltide  to  (he  change  itf  the  sylla- 
ble in  (he  execution  of  passages  or  divisions.  There  Is  scarcely  a 
public  singer  now  in  csislcncc,  and  the  'females  arc  especially  exam- 
ples, who  will  not  be  found  exceedingly  fanlty  in  this  point.  And  if 
I  could  euforce  allcntiun  by  ar:y  one  precept  mote  strong  than  another, 
I  coneeive  there  is  nothing  so  likely  to  impress  tbe  willing  mind,  as 

•  Tbis  was  eminently  the  case  with  Mrs.  Biakchi  Lacy,  wIiihc  organs 
appeared  mate  delicalely  farmed,  and  whose  pronunciatian  both  af  Knglish, 
French,  and  Italian,  alt  of  which  she  thoroughly  undentood,  was  the  moat 
finished  I  eier  remember  lo  hSTC  obserred.  Hbi.  Lact  .was  tatight  to  read 
■ad  recite  Eiy  one  of  the  greatest  msiteis  of  her  Sae^bj  Wilkbb,  tbe 
rhetorldao. 


ELEMENTS  OF  TOCAL  SCIENCE.  S7 

(he  Kflexion,  that  remiss,  awkward,  prorincial,  or  unpolubed  pro- 
Miiiciatioa  ii,  perhapi,  atDongit  manji  tbe  snrest  and  moat  direcllj 
intelligible  sign  o(  a  neglecled  edDCOlion,  slorenly  habitt,  lov  can- 
nection*  and  a  vulgar  mind. 

To  tbesB  1  maj  add  one  more  general  remark.  The  elomttDn  of 
tinging  admiU  a  pionanciation  a  little  moreopen,  a  little  rounder  than 
common  speaking.  If  wo  observe  the  metropolitan  dialect,  it  differs 
ftom  lliat  of  Ibe  pTo?iiiccB  most  especially  in  ttiis  particular,  and 
hence  it  derives  its  peciiliarHy,  ricJinnss,  nnd  bcauly,  ivliicli  no  oilier 
can  besaid  to  partake  of  or  even  to  appronch.  I  liaye  frequently  after 
hearing  for  a  consiJcrnblc  time  the  Icim  jejune  cadence  and  pro- 
nunciation of  the  eastern  parts  of  tlic  kingdum,  I  have  frequently  been 
to  struck  Willi  the  fullncbs  and  ricli  (low  uf  the  metropolilan  tongue, 
that  I  have«topped  for  many  minutes  to  listen  (o  the  colloquies  ofciiil- 
dren  in  tbeitreels  ofliondon,  foTlbeinperiority  israost  easily  diicer* 
mble  in  tbe  inflexions  oflrd>Ie  v«cei.  To  th it  roundness  I  coniider 
it  deerrabte  to  approximate  the  pronunciation  in  linjpng,  without 
however  wandoing  or  dcgcneratiog  into  thoae  conrter  ntbitilatbiM 
wbicb  Ifaarebeibre  protestedagaitutinmy  chapter  on  Tone." 

We  may  now  proceed  to  theconsiderationoffturiDbiectin  a  more 
metaphysical  manner,  viz.  as  it  regards  the  operations  of  the  science 
more  immediately  derived  from  the  employment  of  the  intellectual 
faculties. 

It  appears  that  the  annlopy  between  the  elocution  of  reading  or 
public  speaking  of  atiy  kiiul,  nin!  bidfrici;  ii  vcty  ciim|ilc[e.  Tliey 
scarcely  differ  at  all  but  in  dc.i;re<.'.  'i'hr  .Mtcets  of  reading  „r  d<-el.i- 
mation  are  produced  liy  llic  qiiHlity  of  tone,  hy  indexioji,  by  emplni- 
sts,  and  by  total  cessations  or  pauses.  Singing  seems  only  to  licighlcn 
Ihcsc  effects  by  using  In  a  bolder  manner  the  same  agents.  The 
principles  of  both  are  the  same.  This  consideration  will  in  a  good 
mcasare  account  for  (he  diSerence  of  nationd  (asic  in  (ho  adaptation 
and  expmsion  of  words.  In  conversation  the  Italians  are  rapid  and 
vehement,  indulging  in  great  inflexions  and  (ransitlont — it  is  the 
same  in  Italian  singing.  The  gravity  of  English  discourse  has  in  like 
manner  its  operation  in  the  judgment  we  form  ofa  singer,  and  what 
ii  commonly  called  chaste  singing  wlicn  it  comes  lobe  analyzed,  will 
be  found  to  be  0  freeilom  from  those  mnrked  and  rapid  Iransitiops, 


•  Vol.  2,  p.  262. 


ELEMENTS  OF  VIICAL  SCIENCE. 


llicKe  vcliGiDtint  and  sudden  exprejisiotis,  iliose  stops  and  breaks, 
tbue  virtd  andgloiring  eOecls  of  the  iinagbation  to  be  heard  iit  tbe 
conversations  oftlie  Italians  when  com  pnied  vilh  UiOMoftfaeEDgliA 
nation.  The  seems  to  be,iliat  vocal  expression  has  hitherto  Terjr 
inach  token  its  colour  from  the  nnlional  raelod;  of  speech,  which  is 
alwajrs  peculiar. 

It  is  essential  to  good  elocution,  that  a  certain  moderate  standard 
of  tone  be  constantly  preserved,  nrid  motlUlaliugout  of,  increasing  or 
diminishing  Ihh  lone,  ii.-i^  (ho  t:lTi]c<  iif  varjiof  Ihe  passtoa.  This 
holds  in  singing  bulli  ii:  tin:  eiihI  in  the  manner.  Pathetic  ex- 
pression in  rending  is  pmduoi^d  bj' low,  sweet,  and  tremulous  voicing. 
In  singing  il  is  the  suiiic.  A  ^riiiiil,  lolYy,  and  swelting  tone  in 
rending  confers  dignity the  t\  pressing  of  anger  is  rapid  and  violent; 
of  joy,  liglit  and  sprightly.  Ttic  same  modei  of  expression  are  em- 
ployed in  singing,  with  this  allowance,  that  singing  admits  less  of 
quick  and  violent  enunciation,*  while  the  lender  and  pathetic  feel- 
ings arc  represented  by  a  more  protracted  and  less  interrupted  style 
of  elocution.  These,  botrever,  may  be  resolved  into  differences  of 
degree. 

To  determine  the  beat  possible  manner  of  ddlvering  any  sentence 
roust  depend  Isl.  upon  the  power  of  conception  with  r^iard  to  the 
mere  sense  of  the  passage — Sdly.  upon  an  acquired  knowledge  oftho 
melody  or  means  most  naturally  used  in  the  expression  of  the  pas- 
sion which  it  is  intended  to  cojivcy,  and  3dly.  upon  the  powers  of  the 
individual  to  iiiiitaifjuslU'  th[scxprojsion,  which  accords  most  nearly 
■with  our  idea  of  nalurjil  ur  ideal  btatity.  Wiih  respect  to  the  mere 
import  of  the  words,  all  men  will  interpret  pretty  much  alike  the 
seottments  of  the  composituios  we  are  speaking  of.  The  second  is 
an  object  of  much  more  difficulty.  Nature  herself  has  created  to 
many  varieties  of  intellect  and  of  sensibility,  which  originate  so  ma- 

*  I  beg  ILe  [cador  to  remark,  tliat  I  speak  comparatiicly,  and  the  comparison 
must  be  modi'  a.^  In  the  tv,o  Ihiugs,  not  inlcr  le,  but  one  part  relaliicly  to 
another  in  the  same  species.  Thus,  dramatic  passion  is  more  powerfully  ci- 
pressed  in  spealuug,  when  taken  in  (he  relation  it  bears  to  (he  oriliniry  IcteI  et 
dramatic  recitation,  that  it  should  seem  of  the  same  kinds  of  execution  in  sing- 
ing. In  this,  however  there  is  something  to  be  allowed  to  the  costoms  and  the 
iangoage  of  nations.  The  soft  syllables  of  the  Italiantako  admit  of  much  mtwe 
r^iid  artiGulatlon'tban  the  JuigUsh  words.  Hence  we  have  the  Italian 
ccnolc  songs  bathdndB  and  hi  parts,  the  twanhrofwUdiii  derived  from  the 
union  of  Urely  melo&i  wrOi  veiy  ia|ild  arttcuitiDn  of  notes  and  words,  a 
power  (ImMt  luattainahle  hi  our  own  Isngmge. 


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ELEMENTS  OF  VOCAL  SCIENCE. 


29 


similes  of  passion,  flial  although  tbe  sources  of  sensation  are  the 
same  in  nil  men,  sliould  sfcm  to  differ  pTodigiouslj  in  those  fa- 
cullics  anil  powers  by  wliich  llieir  elTecIs,  wlieti  elaborated  and 
brought  forth  in  tlieir  miMlilicd  slate,  are  so  highljr  exalted.  These 
mtaral  diSerencet  and  aptitQiIet  are  agftia  multiplied  education, 
and  b;  tboie  occnrrenccs  in  life  which  affix  indelible  assodBtiona  to 
almost  every  feeling.  It  is  however,  thrae  associations,  that  b;  re- 
ferring ta  character,  rauhl  iletermine  our  seloclion  of  the  manners. — 
I'.ievy  composition  implies  t he  character  who  utters  the  sentiments.* 
We  must  therefore  imagine  this  personage,  and  connecting  the  pro- 
bable qualities  and  circumstances  vhich  would  give  rise  to  such  emo- 
tions, we  may  assign  the  degree  of  vehemence  in  the  passion  or  pe- 
culiarity in  the  manner,  that  must  be  the  most  mturaU  This  is  the 
personification  as  well  as  the  poetry  of  the  art. 

By  endeavouring  to  recall  any  similar  situation  in  which  we  our- 
selves may  have  been  placed,  by  recollecting  bow  such  circnmstanccs 
have  affected  persons  of  opposite  characters,  whom  we  may  have 
seen  under  like  influences,  either  real  or  imitative,  we  abBll  be  di- 
rected both  in  the  general  and  the  partk!iUsr<^iera(iimorfedlng'>  It 
is  by  sacli  analysts  and  comparison  alone  tk^  we  cananireat  ajBrt 
conclusion. 

The  Ibitd  ot^jecl,  tIb.— tbe  indindnal  powers  of  imitatioD  or  ex- 
pression, by  their  variety,  seem  adapted  to  the  eTeMhiuiging  qnsli- 
ties  of  the  second  desideratum.  Admitting,  as  wc  have  done,  tfw 
Umits  which  character  appears  to  assign,  the  expression  of  any  sen- 
timent or  passion,  may,  ncvertheleis,  bear  modes  of  interpretation  in 
speed)  and  action,  of  nearly  equal  excellence,  (hough  entirely 

•  Every  song  inteststhc  singer  with  an  imaginary  character.  Where  an  air 
belongs  to  any  piece  representiog  on  action,  il  is  admitted  to  demand  a  charac- 
leriilic  daportmeiit.  The  Tyrant  aod  the  Lover,  not  only  require  a  different 
'lyle,  but  a  ditfereot  manner,  which  arises  out  of  and  heiglitens  the  composi- 
tion. The  dignity  or  tenderness  ia  so  mlied  with  the  cflcct  that  the  song  lias 
commonly  tba  Credit  fiM^  the  whole.  In  isolated  airs,  unconnected  with  any 
itory,  aluioii^  the  eaiotioo  ^ipears  to  be  excited  wholly  by  the  composition, 
the  leellags  that  originate  (be  song  ue,  perhaps  imperceptibly  by  ourselro, 
■Uribnted  to  the  dnger.  Tkii  tnln  of  lUnUng  allows,  therefore,  a  warmer,  a 
More  gUiwiag,  and  more  enthadastle  naoner  ofeipresiion  than  is  assumed  in 
Ute  Snt  impiistrimi,  which  the  mere  words  or  melody  may  make  upon  the 
jn^esaent.  The  coboiiiv  of  the  fine  arts  does,  b  truth,  always  "orersb^  the 
nodesty  of  nature;"  ttte  sympathy  oTobserrers  aceonipinie*  it  to  aCErtaio 
pi^t,  and  betag  dissdved  wherever  dds  eoloariiig  becomw  too  riirfent,  may  be 
erteemad  Oe  tert  oCeiosUeDce. 


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50 


ELEMEHTB  OF  VOCAL  SCIENCE. 


diSerent  in  the  raanDer.  Of  thia  fact  ever/  one  must  Ik  senilbic 
who  hu  beard  those  great  masten  of  the  pHBsioBB— Kehblb  and 
Cooke,  Ubi.  Siddohb  BDd  Mm  0*Nbi);,  Maba  and  Bilumg- 
TOK,  Bbahak  BBd  YxvoBAV,  in  the  nme  characten  and  the 
mas  Bongi.  Such  b  tiew-  of  the  nibject  IS)  however,  Ikvoonble 
to  the  aitbt,  MBce  It  leaves  to  his  pecaliai  powers  and  discriml- 
.natloB,  the  choice  of  means.  The  reciprocating  power  which  sen- 
timent and  sound  have  of  aiding  eac1)  other  Hhoulil  tlius  be  made 
the  constant  objei^  of  remark.  It  frequentty  happens,  lliat  a  singer 
either  from  his  peculiar  talent  a  or  the  composition  ilscif,  will  have  (he 
means  of  transferring  the  delight  from  the  words  to  the  music,  or 
vice  versa.  The  knowledge  of  this  power  is  oficn  the  most  useful  in 
raising  a  weak  passage,  and  art  can  never  I>e  more  safely  or  belter 
demonstrated  than  in  manifesting  finch  a  modification  of  expression, 
and  in  preserving  an  interest  throughout  the  whole  of  a  composition, 
as  far  as  it  be  possible.  The  idea  of  throwing  one  part  intoshade  in 
orderto  give  another  a  stronger  light,  appears  to  me  erroneous.  Everj 
pari  sbonid  retain  a  portion  of  interest,  for  certain  passages  must 
a  ttr^nger  incifenient  to  the  mind  than  others,  and  it  iollowi  that  it 
is  a  capital  mark  of  accomplishment  not  to  permit  any  of  the  per- 
formance to  langaish.  The  finer  passages  must  always  snfier  if  the 
mind  be  nnstrung  by  previous  torpor  or  fatigue. 

Good  emphasu  in  reading  or  declaiming  will,  however,  sometimes 
be  found  to  vary  from  good  cmphasb  in  singing.  Melody  receives 
art  accentuation  from  its  particular  measure,  which  is  unknown  to 
the  speaker.  Prose  has  none  of  this,  and  even  poetry  when  well 
read  submits  to  little  of  fixed  accent.*    In  music  the  accent  which 

•  I  wish  it  to  be  understood  that  1  consider  emphasis  to  reUte  to  the 
words — orcnM  to  the  notes.  In  refercnceto  language,  accent  has  little  definite 
meinin);.  The  German  critics  diride  accent  (after  Eousseau)  into  two  spe- 
ciea~thc  111)''  Rr^TnniHlirHl,  the  other  rhelorical  or  pathetic.  The  Itrst  merely 
dislin^iislii's  tlir;  jierfect  arid  imperfect  time  of  the  bar ;  the  second  imports  all 
liiosc  liner  touclics  by  irhich  the  genuioe  intentions  oF  the  composer,  as  to  the 
sentiment  of  his  music,  arc  developed  and  heightened  by  the  beauties  of 
ejccutioo. 

Upon  the  dlrisions  of  musical  accent  proposed  by  J.  J.  RoDsiE<IV,  in  his 
Dictionary,  M.  Suakd  has  made  (be  fallowing  obsenations: — RoUsseid 
speaks  ofa  musical  accent  to  which  all  the  others  are  subordinate,  and  which 
most  be  first  consulted  to  give  an  agreeable  melody  to  any  air.  It  is  ungalar 
that  he  does  not  at  the  bbidg  time  ^ve  any  definition  of  this  accent  which  is  so 
ewenlial,  nor  toy  means  of  recegmdiig  it  and  of  obserrlng  its  rales.  Lit  m 
try  to  supply  this  umisdon.    We  hate  asked  several  great  eomposen,  both 


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elihekh  or  tocju.  sciemcb. 


31 


recors  with  certain  parti  of  the  bar  matt  more  or  len  interrupt  the 
emphasis  upon  the  words.   It  is  not  only  fiom  their  importance  ia 

natioOBl  >ad  roreign,  nhat  they  uaderatood  by  muilcal  accGUt,  uid  if  the 
eipreuioD  belonged  to  tbe  iaaguage  of  the  irL  Some  of  them  hare  answered 
that  they  could  not  attach  any  precise  idea  to  it;  others  hate  eipl^ned  it  to 
US,  bat  with  very  diiTerent  acceptations.  We  have  Eooght  it  in  the  best 
Italian  vrorlu  which  haie  been  written  upon  music;  in  tliose  of  Zabliho, 
Doni,  Tartini,  Saccifi,  Eximeho,  &c.  but  hare  rarely  found  it  employed 
eiCGpt  in  opposite  ^tiist^;,  Wc  hiTo  thcrcrore  conctudi^d  thit  it  is  not  a 
technical  cipression,  thr  sen!.:  of  nhich  maybe  ciftermiucd  and  generally 
acknowledged  by  the  learned  and  by  arlit^t^.  Meanwiiilc  it  appears  necessary, 
in  many  cases,  to  eipress  Tory  distinct  and  often  essential  eilecfs.  Wc  will 
then  endeaTour  to  attach  to  this  word  a  clear  and  precise  idea,  by  tracing  up 
id  analogy  to  its  prioiitiTc  luid  grammaUcal  signification :  this  is  the  calf 
mode  of  aToiding  the  conrmion  and  ioaccuracy  which  are  but  too  often  totro- 
iuteA  by  the  eroployment  of  word*  tianaferred  from  one  art  to  anodier. 
Accent  being,  in  discourse,  a  more  marked  modification  of  the  mice,  togtra 
to  the  syllabic  oier  which  it  is  placed  a  particuiar  energy,  either  by  the  force 
or  duration  of  the  sound,  as  in  the  Italian  and  English  languages ;  or  by  a 
perceptible,  grare,  or  acute  intonation,  as  in  the  Greek  and  Latin  toogues ; 
it  needs  only  to  apply  to  mutic  the  general  ideas  which  this  word  presents  in 
grammar.  The  musical  accent  then  wiU  be  a  more  marked  energy  attached 
to  a  particular  note  in  the  measure,  the  lylhm,  or  the  phrase  of  the  mode, 
whether  (I)  in  articulating  this  note  moi«  ttToagtr,  Or  wHh  s  gTMhul  force ; 
(3)  in  giiing  it  a  greater  duration  in  time;  <3j  in  detaeUng  it  from  the 
otiiers  by  a  very  distinct,  grave,  or  acute  IntooaQoo.  These  different  Mrt)  of 
moiical  accent  belong  to  pure  melody ;  otheiB  may  I»  drawn  from  harmony. 
We  will  eiplun  as  cleariy  and  u  lucdnctly  as  we  can  the  way  in  which  we 
comprehend  these  ^D^rent  e&ctj.  First^The  first  species  is  the  essence  of 
mniic,  Id  all  fixed  and  regular  meaturet.  Let  as  mppese  foar-and-lwenly 
ancceidTeiiotea  ofegnal  nine,  following  each  other;  if  you  sing  them,  or  play 
them  witk  an  Inatroment  with  an  equal  force  of  sound, as  they  hare  all  an  equal 
dorafira,  you  irili  have  only  a  distinct  succession  of  similar  tones,  but  without 
any  appeanncB  of  time:  these  will  not  make  music.  If  you  would  wish  to 
giie  them  a  fixed  measure,  you  will  be  obliged  lo  mark  by  a  more  forcible 
arliculadoii  the  note  which  hi-glns  each  bar;  thus,  if  there  arc  twenty-four 
crolciiets,  and  you  wish  to  give  them  a  measure  of  four  lime,  you  will  strike 
more  Strongly  the  first,  tbe  hftli,  the  ninth,  &c.  For  the  measure  of  three 
time,  you  will  lean  more  fnri^ibly  upun  the  hrsl,  the  fourth,  the  seventh,  &c. 
For  tiie  measure  of  two,  you  will  enforce  ever)'  other  note. — This  is  what  every 
singer  and  player  would  naturally  do.  The  notes  more  forcibly  pressed  are 
the  strong  parts  of  the  measure,  and  the  others  are  the  weak  parts; — in  (crh- 
nical  language,  the  perfect  and  imperfect  times  of  the  bar.  In  the  measure  of 
four  time,  there  arc  two  strong  parts  and  two  weak  ;  for  the  third  is  marked 
less  strongly  than  the  lirsi,  but  more  so  than  (he  second  and  the  fourtli.  Here 
is  then  a  constant  musical  accent  inherent  in  all  pieces  of  iiieasurpil  mU'.ic;  for 
it  ought  to  eibt,  although  by  the  movement  of  the  rytlim,  or  the  elTecta  of 
expression,  this  accent  is  contradicted  or  almost  cfiaced  by  an  accent  of  another 
kind.  2. — If  in  each  bar,  or  in  two  or  three  following  bars,  the  same 
note,  or  ft  longer  note  than  the  other*,  returns  regularly  at  the  lame  pert  of 
tte  bar,  this  note  iraold  tw  eonddered  as  a  mndcal  accent  ffiba  a  particular 
eStcttatheiD^j.  3— Ifindteumewiy,  atcertalnpirttof  the  measure 


S3  SIXHENTS  or  TOCil,  SClmCB. 

tlie  sentence,  bat  their  position  in  tlie  bar  that  nords  become  eraplis> 

tic;  and  however  tlic  best  cmnposers  liave  been  led  tu  consider  and 
abate  lliis  objection  in  llii^ir  norkf,  such  iiislanccs  are  so  common 
among  ail  maslots,  tliit  Ihcy  cuii  hardly  be  cunsUiorcd  exceptions  to 
a  rule,  but  rather  a  radical  and  ntcesbary  dvrctljBo  far  as  regards  (he 
matter  of  wbich  nc  arc  treating,  in  1  hi:  union  of  words  anil  mnsic. 
Pauses,  too,  continue  where  tha  sfnse  goes  cm.  Uivisiuns  ari;  Intro- 
duced to  express  passion  of  cvcrj  kind,.and  which  durivL'  their  ellbcl 
from  a  puticulai  Bcceatualion.  In  tbeu  examples,  therefore,  we 
must  o&sa  forego  in  a  degree  the  vetfoal  eObct  except  we  cnn  bring 
oniBelvesto  canGidertbe  musical  phrase  as  a  more  protracted  exprca- 
■ion  of  the  sense,  and  thus  possessing  ourselves  at  once  of  the  entire 
meaning  of  the  sentence,  tianafer  to  tbe  meiody  b;  &r  the  greater 
share  of  power  in  keeping  alive  the  passion  intended  by  the  compo> 

A  singer  will  often  find  (bat  by  the  judicious  useoflhe  finest  notes 
in  his  compass,  he  can  aid  tbe  effect  both  of  the  sentiment  and  the 
music.  He  may  therefore  constantlj  avbll  himselfof  this  knowledge, 
to  pause  or  swell  or  diminbb  the  tone  more  particularly  upon  tiioeo 
notes  than  upon  others  less  perfect  nhcre  it  does  nut  interfere  villi 
the  peculiar  import  of  the  sentence,  or  the  time  of  llie  music.  In* 
deed,  composers  have  generally  done  this  for  the  singer.  They  know 
ibe  best  pnrl  of  the  voices  for  which  they  write,  and  distribute  those 
beauties  accordingly.  Science  must,  however,  limit  such  a  licence. 
Ton  perfect  singer,  all  passages  and  notes  should  be  nlike. 

The  student  ought  first  to  consider  tbe  appropriate  deliverj  of  the 
words  before  he  tries  them  in  combination  with  (he  nir.  Having 
thus  determined  how  the  words  ought  to  be  read,  he  will  proceed  in 

or  the  musical  plirase,  the  inelndj"  hi-  regularly  raisei!  nr  lowered  by  n  mirlteil 
iiiterfal,  this  iiitoiialloii  woulil  ahn  Unm  a  rrry  ilisliiicrt  acceut.  To  ttiesc 
nu'lliixls  drauii  from  iiiHoily  let  us  jiiiii  tliosc  n  hidi  Iiarmony  famiEbes.  If 
tho  ditrpreiit  iiniruinrni^  rcsularly  strike  mure  fweilily  a  eertaiii  part  of  the 
bar  or  niusLciil  piira^c,  or  '^^^^^^1^'^'  "unihof  of  in'trmwnts  uiiite  to  strike  (hii 

ThaTpir' ,/llie  nolr^nhlrl.  h  i,ei  ,-mVi1,  !  iir,iiM.,l  (>,  mark  the  strong  jiart, 

chord  Khlch  takes  place  upon  tbe  sccoud  part  of  the  note.  These  diSercnt 
examples  of  occenls  are  susceptible  of  many  gnkdatioiu  and  combinatioai.  It 
is  sufBcieut  for  ui  to  hare  indicated  their  priiuiplBa. 


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ELEMENTS  OF  YOCIL  SCIENCE. 


3.1 


the  adajststion  of  (boin  to  melody.  The  first  diiEcully  to  lie  sanomi- 
twed  19  ill  the  svnchrmoMs  delivery  of  tlit  words  nnd  llic  notes, 
for  if  liie  sjllabli:  e\|>iri's  berutc  Ihe  termination  of  tlie  note,  he 
nill  be  under  the  necessity  of  Eubslituling  some  letter  or  tjl' 
Iririe,  vhich  nercT  fails  to  introduce  a  vitiated  (one,  as  null  as  impU' 
lity  of  gpeecli.  The  greatest allention  is  nccek>.-iry  to  ihh  point,  for 
the  (one  is  not  alone  in  danger.  A  too  sudden  or  too  great  a  cliangc 
in  the  aperture  of  the  mouth  or  lips,  will  s7cct  llie  intonation  also, 
and  there  is  nothing  more  difficult  than  to  preserve  the  tone  pure  and 
tune  perfect)  under  the  various  changes  vbich  the  dilTerent  vowels 
and  the  different  molioiis  iiroducc. 

Whenever  a  syllable  h  prolon^xed  llirougii  a  division,  the  greatest 
alien  I  ion  should  be  paid  toilie  vuivel  upon  uhicli  the  pronuncia- 
tion ol  tlio  syllable  ilcpeiula.  The  slighlust  dcvLalion  is  fi;lt.  The  e 
is  always  liable  lo  (le-nicr:,te  inlc.  n,  llie  «  aiiil  tl.i;  i  into  e. 

A  vury  minute  tliaiigi:  in  tlie  monlli  elfects  iliih.  TIj.^  innslcr  (or  in 
Lis  absence  (he  sfnilenO  must  wiitoh  the  syllabic  most  cnrefiilly,  and 
slop  (he  pupil  on  tbe  instant.  The  evil  consequences  of  a  bad  habit 
in  this  or  luiy  nthur  resjicct  is  rarely  eradicated,  as  is  lo  be  perceived 
most  strongly  in  an  English  singer  accustomed  to  sing  Italian.  I 
conid  qtio(c  several  of  the  most  highljr  esteemed  vrbo  vere  accus- 
tomed to  introdnce  a  vonet  betneen  ivords  ending  and  be^ntng 
with  consonants  in  English  songs  as  well  as  in  Italian,  ivbere  it  is 
often  not  only  slloved  but  enjoined. 

The  quantity  of  breath  inspired,  and  the  limes  ivhcti  it  is  properly 
lo  be  taken,  mnst  also  be  nn  object  of  previous  remark.  This  branch 
of  the  subject  comes  more  properly,  and  iviil  be  treated  more  at 
large  in  liie  diapter  on  tliL'  liirnialion  and  management  of  the  voice, 
hnl  it  is  menlionc'il  hero  brciiiise  it  forms  a  part  of  the  considera- 
tions necemry  (o  a  forcible  ilocutioii  in  singing.  The  singer  should 
ascertain  by  experiment  where  the  breath  may  be  most  easily  drawn, 
wittioul  injury  to  the  general  snstciitation  of  the  lone,  and  should 
mark  it  upon  the  song.  Tliis  will  reniove  the  uncertainly  of  mind, 
utd  cimiie  fitcitity  of  ezecnlioD  i  for  nothing  more  eSectaally  sup- 
ports the  petfbrmei  than  the  confidence  that  he  has  fnll  power  at 
flommand. 

I  bavethns  bionght  before  the  eyes  of  the  student  most  of  the 
genetRl  circaniitances  concerned  with  thirbianeh  of  ray  subject,  but 
it  will  be  nocess&ry  to  elocidate  more  iiilly  by  inilBncei  J  the  several 

vol..  £11.  MO.  IX.  F 


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3+ 


ELEMENTI  OF  VOfil.  gl  lEXCF.. 


parliculars.  Pause,  emphosiE,  occenl,  cliaiige  of  pmsages,  either  by 
ttic  abbiefiation  or  Ihe  prolongation  of  iioten,  even  the  addition  of 
ornemenl,  should  seem  to  require  analysis  and  example.  The  li- 
cence! whicli  belong  especiallj'  to  recitnlive  anJ  tii  the  several  divi- 
gioni  of  the  air,  all  present  tubject*  for  a  particular  exposition,  and 
llieae  nill  rorm  the  poind  to  be  diacuued  in  (be  next  cuay  of 

TiMOTlIEUS. 


.  ON  THE  ACQDIItEMKNT  OF  A  PERFECT  TISTE 
IN  MUSIC. 


TO  THE  EDITOR. 

Sin, 

Xll:u'i'  iib.'rrvdl  \h:it  many  persons,  icnily  land  of  music,  are 
nnxioiiK  lit  inipnivr  tlii'insdvt^s  in  lliiil  iiitcresling  science  by  atlend- 
irii;  inticf.rlB,  ;i!id  oilier  public  amusements  in  wliicli  music  forms  a 
cuiisidcriiblc  pari ;  but  not  bcitifr  possessed  of  a  profeBsional  fiieod 
(o  point  out  to  Ihcm  tl}c  various  Lcautica  that  occur  io  the  composi- 
tions they  hear  performed,  arc  very  often  at  a  loss  to  know  bow  titef 
shall  judge  of  many  pieces,  and,  from  the  indefinite  and  obscun 
e^t  produced  upon  their  ears,  they  tomelinin  inuigine  a  composi- 
fion  (either  song,  glee,  or  instrumental  piece^  dull  and  unpleasii^, 
simply  because  (hey  do  not  understand  it.  While  thinking  of  this 
ciroitmstance,  1  was  agreeably  surprized  some  time  ago  in  finding  in 
H  vioik  where  I  least  expected  to  sec  thera,  some  very  excellent  obser- 
vations upon  the  subject;  and  as  they  appear  to  mo  so  well  cakulalcd 
to  eliect  improvement  in  the  acquisition  of  a  perfect  taste  in  music 
in  such  persons  as  are  ivillling  to  follow  the  advice  (hey  contain,  I 
iliall  ivithout  further  apology  introduco  thein.  In  a  work  not  long 
published,  "  Select  Pieces  in  Prose  and  Verse,  by  J.  Botrdler,  jun." 
that  excellent  young  niauj  speaking  of  tlie  scquiicment  nf  taile  in 
the  oris,  uyi — 


ON  THE  ACqUIREHENT  OF  JL  PERFECT  TASTE. 


35 


"PoThapslhe  process  by  wtiiiii  tasle  is  originally  formed,  may- 
be tendered  mure  inlelligiblc  by  Cl)ll^illl;rillg  ln»t  anyone  ,ir((iiiri'« 
irbal  is  callei!  a  perfect  ear  in  iimsir.  Sti{>))i)&c:  a  concerto  of  Mozart, 
or  of  Corel! i,  to  tie  iterformcJ,  boiiu:  iialiitai  sensibility  lu  tlie  braoty 
of  musical  soiimls  being  siippused  [as  it  i^  founil  in  fact  (o  exist  in 
a  great  mtyoriljr  of  bstanc^}  the  general  impression  wliicli  is  made 
Dpon  tbe  betrer  will  be^raufying.  But  upon  a  tiagle  experiment, 
probably  no  penon,  entirely  unpractucil  in  muiic,  could  saj  more 
tban  tliatheliad  received  on  the  nbole  considerable  pleasure.  Sup- 

Eosetheiame  piece  to  be  frequently  repeated:  lie  will  perceive  flia( 
e  receives  different  d^rcei  of  pleasure,  and  pleasures  also  ufdiffer- 
cnt  kinds,  froni  distinct  parts  of  Uie  piece.  Let  tbe  same  person 
heir  n  ^rcat  variety  of  other  musical  compositions,  and  if  he  ii 
vi^lant  in  observinj^  bis  inipressioiJS,  and  cornunres  the  parts  of  the 
several  pieces  which  afford  liim  the  fjrenlest  or  tne  least  graliGcation, 
he  will  grailually  acquire  considerable  correctness  and  delicacy  in 
perceiviniTlhc  excellencies  ami  the  blemishes  ofthu  various  passages 
to  which  be  listens.  Thun  c<mu-~.  ilie  inii'.ifal  philujoiilior,  (IIahbaif 
would  doubtless  claim  thi^  cliu'riily  I'nr  hi'^  fnvoi  I'n  bcKtic.'^)  nnd  cx- 
plniu's  roauy  of  the  c^iu;.!-.  nf  i\ivf  iKT(i.'piiDrib  wlikU  tlic  nmalcnr 
has  experienced.  llrMi  lis  lilni  th.il  ii^  Mirli  .t  pail,  tii-,  oar  vai 
offended  by  ibe  introiliicliiKi  ul"  l.  o  tii'm  v  ili-ctiril'.  mIo  li,^  rmony  ; 
(hat  in  aiiolber,  il'was  ■.M-iuK-d  liv  liio  iii/)[i(K-jriiju--  i.  '^v-lcmof 
concords;  that  Ireri:  lb.'  r-.uk;,:-.^^  ::u-  lim-U-  ii:a:iLi-,il.  i.vpliuEiin- 
tbe  principles;  there  llu;  (rai^siiuiri  ijilo  ililli'i.-jit  l.,'j- i,-,  u><>  sud- 
den, aod  be  talks  earueslly  to  him  abuul  sburp  sfveiidis  uiui  iLinila- 
meniai  uasses.  If  tbe  ainatenr  has  tbe  lurlnne  lo  have  a  tolerablrr 
head  as  wellas  an  ear,  he  understands  a  good  deal  of  what  i^  taugbt 
him,  and  finds  (hat  by  the  help  uftbis  new.kiioi^led^^c,  tbe  ex|)eri- 
ments  which  lie  makes  ate  much  more  prolilable  (Inia  they  bail  been, 
that  M,  be  observes  many  sliglit  impressions  iihicli  h»J  bi^fore 
escaped  him,  and  has  a  imire  perfect  knutvledf^c  of  those  which  ho 
had  already  noticed.  His  judgment  also  receives  great  ussislance 
from  the  opinions  which  lie  buurs  from  oiiiurs  wbo  haw  made  a 
progress  in  his  art,  and  from  Ibc  rules  ailopled  or  fuvorcil  by  the 
most  celebrated  roasters,  and  by  degri-cs  ivilb  imlbing  but  au  ordi- 
narily good  ear  and  pluiii  unilt-rstunUiiig  to  tie-in  with,  niayany  per- 
son become  a  ver^  skilful  connoiseur  in  every  species  orcdnipu'iition, 
nnd  acquire  so  critical  a  nicety  in  his  perccptinri  iii'soiinJs  as  to  be 
able  to  detect  a  single  false  note  in  tiie  midst  iil'  llti>  iifitsy  and 
complicated  petfonnntice.  The  process  liy  «  hirh  t^in^  is  aninired 
ioany  of  the  sislef  arts  certainly  is  not  very  dilU'rcni.  Ifdiu  ac- 
count which  bas  been  given  of  tbe  mnuner  in  wbicii  our  taste  is 
formed,  be  tolerably  correct^  it  follows  that  justness  and  comprehen' 
lioii  of  andentandin^^  are  more  indiipensably  lequlsite  for  the  enjoy- 
ment of  tbat  power  in  great  perfectbn,  than  a  luperior  delicacy  in 
our  original  perceptions." 


*  Tbaautber  htre  ondaabtedty  newt  "nccsiiinn  af  coicM^." 
w  2 


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36 


ON  TBE  AimUIKEHZNT  OF  A  PtiWSCT  TAvnt. 


To  ttete  observaliDos  nothing  taiwe  need  be  added  than  (ktm  pre- 
caatiotiBiy  mlea.  Let  thoH  peniHit  who  are  indnocd  to  impfore 
theit  Itnowledge  of  ratuic  be  carefol  th^  do  not  become  pedanti 
before  thej  ate  capable  of  being  connoiscurs,  let  Uiem  beware  of  tbo 
rock  that  matt  beginners  in  minicat  taste  s^jlit  upon — loo  mnch  Cm- 
ceil — tbcy  should  also  take  especial  care  that  itieir  minds  arc  notptO' 
jitdiccd  ill  favor  ofur  ngaiiisl  any  pnrlicular  compnscr  or  performer; 
with  diligcficc  lpt  llicm  apply  the  furiigoiiig  remarks,  ami  tbey  can- 
not fail  to  becijuio  loinpfteiil  ami  jtidicioiis  critics  in  llip  art  tbey 
iiilniiic.  If,  Mr.  ildilor,  von  ^litiiilil  ilffm  llie  above  iiortby  of  in- 
Bcrlion  in  your  I'lilcrtaliiing  and  useful  Itcvicw,  I  sliall  feel  gratified 
ou  perunug  it  in  your  next  number. 

I  am,  Sir,  your's, 

F.  W.  II.  Prof.  Mu*.  Ireland. 


ON  THE  CONSTRUCTION  OF  DUETS  FOR  rOIC£S. 

In  the  prepress  of  our  work  we  bave  more  tban  once  adverted  to 
tlie  great  superiority  whtcti  foreign  coniposerG  liavc  over  as  in  the 
coTiilrucfidu  of  Duets — a  circunislancc  Ihe  luore  remarkable,  because 
in  jHtrt-songs  of  almost  every  oilier  liescriplion  we  appear  to  stand 
on  a  nearer  level  with  Iheni,  and  even  to  ndvance  bigli  claiins  to 
originality  in  the  conception  and  truth  in  the  execution.  The 
Iloltanialw^barc  been  and  nre  donn  to  this  moment  excessively 
midtons  in  tbfa  species  of  composition,  whether  heroic,  amatory, 
pathetit^  or  comic.  There  is  not,  we  will  venture  to  auert,  any 
Snglisli  eompotiUon,  ritiin-  dramatic  or  for  the  chamber,  that  can 
ttand  a  moment  in  the  comparitoo.  The  structure  indeed  of  the  co- 
mic (peciet  io  particular,  may  be  said  to  be  their  onn.  The  rapid 
arficulatini  of  notes  and  words,  nbich  give  such  force  and  fire  to 
tndody,  and  saoh  animation  lo  dialogue,  has  hitherto  been  found 
unattainable  to  oor  langDage.  How  Ikr  the  difficolty  may  be  orer- 
aome  is  yet  however  donbtful.  Mr.  Bishop  has  very  BOCcessAiHr 
appnwdudthitityloin  tlu  working  Bp  rf  hit  aimtM*  trio,  7%) 


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cm  THE  COTSTOtCnON  OF  DUEI1. 


37 


QkM^  andCnm.  fiat  in  the  comic  stjie  alone  are  to  be  fonnd 
Teinacolar  embamisiniuiti,  while  Ihe  superjorify  of  oiur  models  m 
'■■  obviow  In  all  tbe  rot  as  in  tfiis.  In  the  hope  then  to  awaken 
tlie  attentiMi  af  compoierB  (o  the  l^ct  grrneTally,  and  (o  Invite  the 
le^rd  of  aniateiin  to  the  dEligblful  apecimeni  lo  be  found  in  the 
dramatic  works  more  espccintlj  of  at)  liic  Italian  composers,  (pai^ 
liculatly  of  the  school  of  Naples,}  during  the  last  bnlt  ccnlury,  as 
Hell  BE  to  those  of  Paeu,  Koebini,  tind  other  living  authors,  we 
have  collected  from  the  EDC}'cloi>edic  Mcthodique  the  following 
remarks  relative  to  the  compotition  of  the  Duo.  The  French  philo- 
phers  vera  amongst  (he  earliest  to  consider  composition  together 
with  its  intellectual  relations,  and  to  trace  out  elTccIs  to  the  ju»t 
causes  which  lis  in  the  common  sensibililiea  and  aseocialiona  of  man- 
kind at  large.  The/  drew  their  models  Irom  the  Italian  composcn, 
and  it  bm  been  BckBowle^ed  that  to  LsLLr,  Gs.vck,  udPicaiNi, 
are  owlpg  tlH  greater  portion  of  tboae  im[»oi>omenti  wbioh  Ibe 
Italian  open  now  eiyoji.  There  improve»«ol«  were  atnu^  out, 
Mutored,  and  reared  in  tho  Capital  of  Fntnoe,  mkI  aboot  the  tima 
that  BeoiMAn  llvad  and  wnrt^  and  that  there  my  atoDraataoore 
agitated  and  divided  the  literary  and  muical  circlea  of  P&rit.  Tbe 
interest  waa  at  (hat  place  and  period  the  moat  lively,  because  it  was 
immediate  and  personal. 

Theae  olMcivatioiu  treat  principally  of  (he  dramatic  duel,  but  Ihey 
apply  almost  equally  to  compositions  for  the  orehettra  or  the  cham- 
ber. We  do  not  oB'qt  them  by  any  means  aa  complete  uutmctioaa 
or  infallible  rules,  but  as  opening  a  subject,  upon  which  wc  benoflcc 
hope  to  prodacc  more  extended  remarks. 

Duo. — This  term  is  generally  applied  to  mosic  in  two  parts,  bit 
it  is  now  reslriclcd  lo  two  reciting  parts,  cither  vocal  or  instrumental, 
to  tbe  exclusion  of  Ihe  mere  accompaniraents.  Thus  a  compDeitiaB 
for  (wB  voicM  is  called  a  dael,  Ihougli  there  may  be  a  third  part  tor 
a  eontiniied  bare  and  oiben  for  the  symphony.  In  shoit,  in  order 
to  eonstitnto  a  duet  (here  must  be  two  principal  parts,  betvremwhidi 
the  melody  ia.equally  divided. 

rules  for  tbe  compotitHXi  of  duets  were  originally  extremely 
mere,  bnt  they  have  relaxed  in  later  times,  because  it  was  per- 
retred  that  they  were  pedantic,  uflclesi,  and  even  hurtful,  since 
Ihey  reabiUiied  genin*  wilhoBt  conMbnting  to  effbct,  and  partictdaiiy 
in  diwaatte  moie,  where  the  duet  was  employed  to  paint  paeriea 


38 


OH  THE  CmnTROcnOK  OV  SDITI. 


Mid  great  ■moliaa.  The  duet  fbi  Dm  dumber,  ob  the  contrarj, 
kng  pmerred  thcae  Mvere  laws. 

Towards  Ibe  end  of  tlie  17tb  century  a  veij  learned  and  labovred 
gpccicftof  cliamber  duet  began  to  be  in  favour.'  Tbe  first  were  tboee 
of  BoKONciM,  published  at  Bologna  in  1691;  aooo  after  tbme  of 
the  Abbe  Stefpani  were  spread  over  Europe  in  man osccipt  s  thej 
irere  followed  by  flie  ducts  of  Ci.ari,  Hakdel,Mabckllo,  Ga*- 
p&Bixi,  LoTTt,  Habbe,  nnd  Dukartb. 

Notwithtlanding  the  purity  of  the  harmony,  <he  imilatloni  and 
the  Ingenoityof  design,  in  tpite  of  themuletly  style  vlilch  perrade* 
Ibesccomposifbns,  there  appears  to  be  a  radicnl  tmpnr  feet  ion  intlieir 
plan,  owing  lo  tlie  expression  of  the  words.  It  is  hardly  probable 
that  two  persons  slioulil  repeat  one  aflcr  another,  or  express  togc- 
Ihcr  the  same  complaint  or  the  same  sentiment,  wbatever  it  may  be, 
instead  of  each  preaerring  a  diKient  character,  as  in  tbe  modem 
dramatic  duets;  bat  peibaps  these  ohamber  duets  vere  originally 
nerely  intended  as  exerdies  for  singers ;  ui  fact,  the  passages  which 
are  repeated  in  them,  in  echoes  or  fugues,  excite  emulation  between 
the  performen,  and  give  tbe  means  of  incessantly  comparing  Ibe 
neatness  and  rapidity  of  execution. 

Agdstino  SinrFAAi  was  born  in  the  state  of  Vrnice,  allhongh 
tome  German  aclhoiB  cite  Zidpaic  as  bis  birth-place;  he,  however, 
rcrided  several  years  in  Germany,  at  the  court  of  Hanover,  where  he 
composed  some  Italian  operas ;  there  are  perhaps  no  compositidni 
more  correct  aorfoguet  with  more  artful  answers  and  imitations,  than 
Ibedoetsof  this  master. 

The  greatest  Italian  sing«t  of  the  last  age  practised  these  duel«  ai 
•olfeggi. 

Cablo  Haria  Clasi  did  not  publish  liir  excellent  cbamber 
dnels  and  trios  till  17S0,  although  they  were  long  before  known  in 
mannscript ;  their  slylc  suQiciently  resembles  those  of  STEprANi,  but 
there  is  no  resemblance  between  any  passage  or  piece  of  melody  ■■ 
they  arc  sometimes  even  superior  to  those  of  Stkffani,  from  the 
grandeur  of  the  Eubjects  and  the  elegance  of  the  melodies. 

But  the  greatest  singers  and  best  masters  prefer  tbe  dueta  of  Dv- 
HANTB,  to  those  of  any  other  composer  in  this  style.  He  formed  them 
upon  the  aira  of  the  cantatas  of  his  master,  AbEXAirDEa  Scablaiti  ; 
they  are  more  in  dielogoe  or  duet  then  tngue,'  but  contain  moie- 
btautifuland  impBHioaed  piacu  of  melody  than  tTM  tht  matin 


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OK  niK  coNSTEccnoH  or  nutn. 


39 


gcnios  of  Old  Scarlatti  InTenled;  ami  Uieie  an  mulod  in  » 

learned  a  way  that  it  ap^iears  refinement  can  go  no  furtlier  in  thi* 
ityle  of  cDTS position. 

Allhotigb  the  severity  of  tlieir  style  is  extreme,  it  docs  iiul  approach 
that  of  tite  ancient  duets  for  Ibe  cliurch  upon  plain  e/iant.  They 
more  resemble  the  kind  called  Duel,  and  irtiich  in  former  times  was 
distinguished  from  tlic  Duo.  "  It  is  necessary,"  says  the  Padbk 
MisTiNi,  in  his  treatise  on  Counterpoint, "  lhattbe  young  composer 
should  be  instruclcd  in  Ibe  difference  which  exists  between  the  Dun 
and  tkeDuelto.  The  Duo  is  composed  in  all  the  rigour  of  the  church 
ityle,  which  rarely  admits  any  notes  but  scmibreves  and  minims,  and 
without  any  base  accompanimenL  In  ihia  ipeciei  muten  are  cue- 
fill  in  obsening  all  the  rulei  preicrU>ed  by  itilct  couulerpoinl,  and 
the  sty  tej  al/a  eapdta.  The  Duetto  i«  also  filled  with  imitatioiu  and 
fngiiea,  but  oflenet  compoMd  of  cratcheti,  &c.  ItadmiU  the  eicep- 
tioa  that  the  particular  ilyle  in  Whid  it  ii  nrritten  lequiro,  and  it  i* 
accompanied  by  a  continned  basa  for  the  organ  or  harpsichord." 
From  what  pedantry  has  the  Duo  been  delivered,  and  if  these  sever* 
roles  have  been  relaxed  in  what  has  the  art  suffered  ? 

RocssEAi;  observes,  that  the  Duo  may  be  considered  in  (wo  ways, 
namely,  simply  as  an  uir  in  two  parts,  or  as  imiliilivc  and  lliciiliicni. 
But  as  Din;l=  arc  out  of  nature  in  imiliilive  ii,  „nl(,T  (.,  avoid 

the  ah.-,ur  JidL's  «liitli  arise  fiom  tbeir  introilucliou  on  ilic  s;,;;;i',  par- 
ticularly in  tragedy,  they  should  be  pkceil  in  liiich  situations  as  will 
from  their  inteieit  heighten  theatrical  illusion,  and  should  be  treated 
at  much  as  posuble  in  dialogue. 

All  violent  passions  should  not  be  indifferently  chosen  as  suhjrdi. 
Fury  and  rage  proceed  too  rapidly,  nnd  noltiing  is  tiislinguibhed  but 
a  confused  iioice.  Beudcs  this  continual  iccriniinolion  of  injuries 
and  of  insults  is  belter  suited  to  cow-herds  than  to  heroes,  and  more 
resembles  the  boastings  o(  those  wlio  wish  rallicr  to  iiispiri;  fear  than 
to  fullill  [buir  threats.  These  observations  :Lp[>l>'  to  the  ywinl.  With 
respect  to  the  musician,  it  bi:longs  to  him  lu  lliul  a  mi'lo.ly  sailed  to 
the  subject,  and  so  distributed  that  each  of  inu^iloculiii-s  .s|ic:ikiii!; 
iu  hii  turn,  the  whole  of  the  dialogue  luni's  Ivj  dir-  niclu.lj-,  ]iru- 
ceeding  from  one  part  to  the  other  "ithmit  ili.i lining  llit  aiibjccl,  or 
at  least  witbput  altering  the  lime.  The  tuo  parts  must  not  however 
be  exacl^  alike;  for  besides  the  auitable  divenity  of  style,  it  is 
Tuy  rare  ttat  the  ntuution  of  the  acton  it  n  precitely  the  Htme  u 


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40 


ON  THE  CONSTIttlGTIOH  Of-  DTJETS. 


to  CBnae  an  equal  erprcsrion  of  aeiitlniait :  the  tnaiiciBii  sIiiniM 
therefoie  Tarj  tbe  accent  nnd  give  each  the  cliaracter  which  beat 
paints  their  feelings,  paiticalarly  in  alteniate  Tecitalire> 

When  (he  two  parts  anite,  (which  ought  rBreljr  to  occur  and  hut 
bat  forashort  lime,)  a  melody  mast  be  found  capable  ofa  progrea* 
■ion  bj  (hirdi  or  aizths,  in  which  the  iccond  may  produce  effect 
wilhont  disturbing  the  first.  The  dmafion  of  dissonances,  the  pier- 
cing anil  increased  sounds,  tlio  farlissimo  of  the  orcliostri  must  be 
pn-s(.rv('cl  for  iiuim™!?  uf  disorder  ^rul  of  transjK.tt,  ivIr-r  llic  acturs, 
appcarijig  til  forget  tlit-iiiscl  vl'^,  carrj-  llii^  inii.sioii  lotlie  iircast  of  tlin 
ECnsilive  spectator,  and  cause  him  to  cspericncc  the  ]>oitcr  of  har- 
mony, whenartfnllj  condaclcd  ;  but  these  instances  should  be  short 
and  rare.  Tho  ear  and  heart  mual  be  previouslj  diiposcd  to  emo- 
tion by  »ft  and  aOecting  music,  in  order  that  thej  may  both  be 
eBritf  moved  by  thete  Ttolent  agitatioits,  and  Ifaeae  mutt  vaniih  with  - 
IherapMity  raited  to  our  weaknen;  for  iriien  agUation  is  too  great 
it  cannot  endure,  and  that  which  is  even  natitraT  faHi  to  toiich  ns. 

These  opinions  of  RoussE A  F,  on  the  dramatic  Duo,  are  excellent ; 
but  it  is  clear  tliat  Ite  had  and  could  only  have  in  view  the  Duos  of 
his  osvn  lime — fitat  is  to  any,  (hose  of  Leo,  Pergolesi,  and  Vinci  : 
serious  duets  were  then  composed  in  the  following  way  : — They 
commenced  with  a  slow  movement,  l)cginning  in  dialogue,  and  con- 
tinuing with  the  two  voices  united  ;  tlen  followed,  as  in  (he  airs  of 
the  same  age,  a  very  short  second  part,  generally  remarkable  for  its 
bold  and  crowded  modnlation,  and  frequcnUy  in  a  qnicker  time 
(ban  the  first  movement,  after  which  this  first  movement  was  re- 
peated note  by  note.  This  most  not  be  forgptten  in  reading  tlie  re- 
raarlu  of  RomsBAn.  It  is  for  this  waaon  that  he  prohibits  taking 
indiffincDtly  all  tbe  vu^t  passions  MBUt^ects,  but  only  those  wfaich 
sreBosceptible  of  a  sweet  melody,  and  one  capable  of  coatrait,  in 
order  to  reader  the  air  accented  and  the  harmony  agreeable. 

This  sweet  and  cbolrasted  mdody  belongs  in  fact  only  to  tbe  great 
eai^dbSei,  Uirgo$,  and  grma  of  the  ancient  dramatic  duos ;  but  since 
his  time  tbey  have  taken  another  direction.  Now,  after  a  slow 
movement,  when  tbe  situation  of  the  persons  permits  or  rcqnires  it, 
after  Uiey  have  resigned  themselves  <o  tbe  expression  of  a  soft,  ten- 
der, or  ■onowtnl  senliment,  the  passion  gradually  eocTeases  and  snd- 
denly  lakes  a  more  energetic  and  rapid  ezpieision;  (be,  lime  mw 
K^cetented  does  not  return  to  Hi  first  meaitn^— it  often  even  be- 


QS  Tar.  roNSTTHJfTiiiN  iiv  Drc.T';. 


eamet  imore  rapid,  and  liic  two  voices  aojiidimes  ie])ara(e(l,  some- 
limea  united,  arc  no  longer  lunited  (o  t/iit  awetl  and  amiraslfd  me- 
lody;  the  conlrasU  are  Strang! j  articulated,  an  enei^ic  And  im- 
panioned  melod;  shakes  all  the  fibres  of  (he  heart,  and  vben  an 
overatrained  coraplaiaance  to  feifaionable  singen  does  not  introduce 
frivoloiu  roulades  and  passages,  the  last  moTcmenls  of  the  Duo  en- 
chant, transport,  and  inspire  the  anditor  with  all  the  feelings  that 
appear  to  animate,  i^xnlt,  or  tear  tlie  hcHtts  of  the  jierformen. — 
PicciNi  nas  the  fiiat  who  dared  lo  quit  IIic  beaten  pulh,  nm\  wlio 
Iiazardcd  tirsi  in  airs  and  aflerward.i  iit  duels,  this  change  si>  fnvor- 
able  to  cxpri-ssion.  siicres.-  offliis  nnvriiy  ivliicli  Ju-  o:niiJ,.vcd 

1  think  for  tin;  firsl  timi,-  at  Konn-,  i;i  hit  tirjl  Ol  ,  ii;;uiuK  .  in  I  r:^0  or 
I7GI,  induced  evory  oilier  maslpr  loadoiit  il.  !/,-■  ,\i  'i^:;,ir/)o 

iHoi  Jclici  be  compared  willi  those  which  ivcre  bi-forc  compusi'd  lo 
thesamewordsby  Pbbgolbii,  JoHBLU,  and  Gai.uppi.  It  will 
be  perceived  that  the  fomiet  not  only  contains  a  novel  ciTi-ct,  but  also 
a  new  style,  entirely  fiee  from  the  renaiits  of  pedantry,  ^vllich  stilt 
hung  about  the  others.  Then  let  the  duet^  which  have  been  since 
written  for  the  opera  by  SACOBiKi,AttFossi,  and  several  other  mas- 
ters, be  again  compared  with  this  duet,  and  it  will  be  fonnd  that  they 
fallow  the  model  Piccim formed.  I'aisieli.o  nlone  differed  from 
it  in  one  of  (lie  most  beautiful  Duos  ever  wrillrn,  eiihfr  by  hiins-lf 
or  any  other  composer.  The  first  movement  is  iieithur  a  cantabile 
nor  a  largo,  but  in  motioralf  lime  rpmkr'jd  more  touching  by  the 
minor  kry,  in  lihicliit  is  » ri'.liTi,  by  an  cxjirissive  and  sometimes 
ratln-r  antiiinc  inolody,  and  n  plaiiilive  ;ind  soiiicwhat  uniform  ac- 
coRipanimcut ;  this  movement,  folluweil  by  one  ttiorc  rapid,  full  of 
lire,  and  abounding  in  striking  contrasts  in  melody  and  harmony, 
attained  perhaps  the  highest  degree  of  expression  of  which  music 
is  capable. 

Nothing  of  this  kind  cxUled  in  the  lime  of  Kodsseau,  and  it  is 
BBturat  that  he  shobld  not  see  effects  of  which  he  had  then  no  idea. 
As  the  art  is  enlarged,  its  precepts  must  also  be  enlarged ;  some  of 
those  of  Rousseau  ore  become  insaffieient*  and  even  (all  to  the 

gronnd. 

He  injisis  first  that  when  the  two  parts  aie  united,  a  melody  shoold 
he  found  capable  of  carrying  a  progression  of  thlrdior'sixths  t  to 
tfais  must  be  added  a  series  of  imitations,  answers,  contrasts  by 
dilique  motion,  one  part  rciuaiuing  on  one  note,  while  the  other  ii 


it 


ON  THE  COtiSTHUCTIOK  OF  DUETS. 


mora  or  leu  quickened;  b;  contrary  motion,  ooe  Baccnding  the 
otber  descendiDg,  uoitir^  and  again  HpaiBtiog. 

Sd.  HetajB  that  this  uaioa  oflh*  putt  should  ndrt  bat  for  ft 
short  time,  hut  we  knnr  msnj  Duos  whm  they  contiitTie  togetlirr 
for  a  long  period,  and  irhere  the  interest  augmenls  as  tbe  uaion  it 
prolonged. 

3d.  That  ttie  heart  and  ear  mtut  be  so  previouslj  disposed  to 
emotion,  bj  soft  and  aflectinf  mugic,  that  thej  raay  eastlj  berdis- 
posed  to  violeot  pertnrbatioD  ;  bat  one  may  imagine  a  sittntion  re- 
quiring the  two  Toicet  to  commence  together  in  an  impetuous  more- 
menl,  and  afterwards  soAencd — such  examples  may  even  be  cited. 
The  pcrfecliiig  the  nrl,  the  extension  of  its  means  and  proceedings 
have  annulled  this  rule,  suited  only  to  the  ago  in  which  il  was  made. 

4lh.  It  is  necessart/  that  these  tiolatl  emotiom  ihould  disappear  mlA 
a  npiditff  nied  to  our  weaknai.  This  observati<m  Is  again  sup- 
ported by  another  apparently  very  just  (Aaervatim,  namely,  what 
the  agit^ion  is  too  itnng  it  cannot  hut,  and  that  evert/  ilung  that  is  out 
of  nature  tio  longer  ag^tt.  But  oar  weakness  is  rolali»e  as  well  as 
our  strength.  Our  organs,  naturally  so  weak,  acquire  strength  by 
habit,  and  hearing  is  one  of  those  on  which  it  has  the  greatest  in- 
fluence. Were  tfc  now  to  listen  to  those  pieces  by  the  old  masters, 
which  painted  (o  lliosc  who  lived  al  Ihe  lime  Ihey  were  written  the 
strongest  and  mott  impassioned  emotions,  lliry  would  appearto  ns 
cold  and  of  no  effect,  and  far  from  cxciiing  i[i  us  such  riofent  agita- 
tion as  to  fatigoe  the  organ,  would  hardly  aflect  nt.  A  pasung 
emolbn  leaves  no  impression,  and  in  order  to  make  it  durable  and 
deep,  the  cause  must  frequently  be  prolonged. 

This  increase  of  the  sdength  oS  the  ear,  a  uecetsaiy  consequeaoe 
of  tbe  habit  of  hearing  musiB  becoming  pn^iesrivdy  more  rapid, 
complicated,  and  loud,  renders  useless  Rousseau's  advice  to  the 
poets,  not  to  talte  all  Ihe  violent  passions  indifferently  as  subjects  for 
the  Dno.  What  I  have  already  remaTkcd  sufficienlly  explain*  why 
be  gave  this  advice,  and  why  it  ought  now  to  be  dispensed  witb^ 
"  Fury  and  rage,  he  adds,  proceed  too  quickly,  nothing  can  be  dis- 
tinguished or  heard  but  a  confused  noise,  and  the  Duo  has  noetfect." 
The  improvements  in  the  art,  invented  by  modern  masters,  the  con- 
trasts between  tbe  voices,  and  tbe  nnmerons  bunts  of  the  instm- 
nenlal  parts  in  tbe  quickest  movements,  so  cleai  and  distinct— the 
an  it  M  ludritaated  to  Mlow  tbcm  as  qtiicltly  ■>  it  be  neoeasuy 


OK  THE  CONRMWriON  OV  DUBTB. 


Umugh  Ihu  ingenioui  labjrinlli  ofrndod;  and  haraiany,  OaX  Ihm 
«cist  no  pasuoDs  which  cannot  be  painted ;  and  tbe  poet,  certain  of 
finding  In  tliem  faithful  tnteipreters,  may  select  as  subjects  for  (he 
Doo  any  silualion,  any  characterb,  any  senlimenls,  from  the  most 
affecting  and  tender  to  tlie  most  furious  anil  enrnguil. 

Out  gouil  tasle  agrees  wilh  RonssEAU  when  he  remarks  that  "(he, 
perpetual  relaliation  of  injuries  and  insults  belong  to  cow-bcrds  moru 
than  heroes,  and  resemble  the  boastings  of  Ibose  irlio  wish  to  inspire 
fear  ratbcr  than  do  linrm."  It  is  not  that  mnsic  h  unequal  to  paint 
the  most  furious  and  listing  rage,  but  (bat  continued  moiacesarcoot 
becoming  between  heroes. 

There  arc,  however,  several  examples  of  this  style  on  (beitage,  but 
these  Duos  should  be  sparingly  used  since  (bey  aie  generally  contrary 
to  the  dignity  of  tragedy,  and  to  (he  vmrlUcc  chaiactor.  Inonler- 
Ibat  injuries  and  insnlts  may  be  prolonged  vilbont  deitroying  pro- 
priety, th<7  must  be  introduced  betirean  persons  wbo  cannot  pan 
from  menaces  (o  their  effects;  between  Iiusband  and  wife,  jealous  or 
betrayed  lovers,  an  absolute  rather  and  a  sou  devoted  to  a  jmssion  to 
which  he  is  opposed,  a  tyrant  in  love  and  a  worann  who  bates  and 
braves  him,  &c> 

Concerning  BulFo  Duos  eraiilojcd  in  inlcrludcs  nnd  nlhercoraic 
operas,  Rossbau  remarks—'-  If  Ihcy  are  iint  ns  paliii'lic  ns  ilio  Duo 
in  tragedy  they  are  suscuplililc  of  more  ilrikiii^'  varid  y,  of  diliercnt 
accent  and  more  marked  cliari^clcr.  All  fasL^inalion  of  coqnclry, 
all  Ihe  weight  of  characters  in  (!i,<,riiisL.',  all  llic  contrast  of  1  lie  follies 
of  one  sex  or  Ihc  cunning  iif  tlio  uilicr,  in  short  alt  accessory  ideas  of 
which  the  subject  is  cnpabic,  may  concur  in  bestowing  amusement 
and  interest  on  these  Duos,  Ibe  rules  of .  which  are  the  same  m  ui 
otfaei^  «(•  all  that  legards  diabgneand  (he  unity  of  the  melody." 

The  fruits  of  time  and  of  the  progress  of  tbe  art  must  also  be  added 
lothese  observations  of  RonsBEAD  on  tbe  comic  DnOi  In  the  fiiat 
place  the  opera  buffa  is  become  very  difiierent  from  what  it  was 
when  he  wrole ;  every  specii-s  of  character  and  sentiment  find  a  place 
ia  it ;  the  Duos  are  sometimes  in  a  nuLie  style,  sometimes  a  mixture 
of  serious  and  comic,  or  entirely  comic,  according  as  the  situation 
lequires. 

Amongst  many  acute  and  new  observations  made  by  I^.  de  la  Cz- 
PSBE  OB  tic  Ddo,  in  hii  "  Podiqiie  it  to  cwrifne,"  there  are  MNne 
irhjoh  peculiarly  bolong  to  it,  and  which  will  not  appear  miiplacw) 
a  C 


DigHizedby 


44 


ON  TlIS  CONSTRUCTION  OP  DVETS. 


at  llie  conclusion  of  article."  "  Thcte  may,  layi  be,  be  intio' 
duccd  on  tlie  stage  four  Hvcml  speciei  of  Duo.  Pint  Ih^  maj  be 
tUDgb;  Ivo  persons  vho  see  and  hear  each  other;  aecondl;  two 
liersooK  who  see  but  do  not  licar  each  other  i  thirdly  by  two  persoiu 
ivhi>  hunr  but  do  not  sec  each  oilier ;  and  foucllily  by  two  pcisODi 
who  iioiUjcrsi?!.'  nor  licLii  c-jdi  oUitT. 

The  I)uu5  of  lliL'  r'lrif  spceir's  ;ire  nai  confined  loany  particnlar  con- 
sidrralions.  Willi  n'S|!i'ct  fu  lliosc  siin^'  by  two  persons  who  see  and 
(loijdt  lieiir  e;iL-h  ullicr,  the  ful!iJi^irig       i\w  urutnutione  to  be  U*ed 

Gin;  muit  he  lakmi  nut  <iM'il;iljli-!i  a  ^])Ucil■s  of  dialogue  between 
the  two  inti'rluciLLors,  and  iiiie  mu^l  not  wait  till  (he  other  liaa  finished 
Ills  klnii  of  rouplcl.  Tlie  personages  do  not  hear,  would  il  thereloic 
be  piohable  that  they  should  wait  for  each  other  in  otder  to  express 
their  scattnicnts  !  Tbej  shonld  often  ting  ti^ether,  and  here  tha 
musician  needs  much  skill  in  order  to  mark  distinctly  the  two  meltf 
dies  and  the  words  of  each  peraon. 

The  dilTcreiit  shades  of  sentiment  given  by  the  composer  to  one  of 
Ills  iiilerlLiculors  should  only  relate  to  these  expressed  by  tbepanlo- 
iiiimi:  ufllie  uilK-r ;  they  must  in  no  way  agree  with  that  which  may 
rqircsonted  by  the  part  of  the  second  speaker,  as  the  actorsaienot 
supposed  to  hear  each  other. 

^VIlen  llio  twodo  not  see,  but  bear  each  other,  lbs  musician  will  be 
obliged,  as  in  the  ordinary  Duo,  to  observe  the  laws  of  regnlarily  and 
of  order  iu  the  nioJe  miiliiig  ur  ^epuruiiiig  the  voices  ;  for  as  they 
are  heard  liy  one  anotlicr,  ivhai  prevents  tlicrn  from  ansni^ring,  iuler- 
rogating,  listening,  and  in  short,  observing  nil  that  the  imitation  of 
nature  and  theatrical  itlusbn  may  demand  i 

Ike  mtisician  wilt  here  take  opposite  precautions  to  those  we  re- 
comioended  in  the  Dno  of  the  second  species;  he  will  express  every 
thing  by  meamoFtheorchestn]  but  lie  will  only  represent  forciUy 
the  passions  expressed  by  (be  melody  and  the  woidi^  and  he  will 
paint  less  strtrnglj  that  which  caimot  be  perceived. 

We  now  coma  to  the  Duo  where  the  persons  neither  see  nor  hear 
each  other ;  such  situations  do  not  oiUn  occur,  but  wlicn  they  do 
the  mnsician  must  preserve  no  form  of  dialogue.  Whether  tlic 
personages  ung  or  are  silcal,  whether  they  express  (heir  feelings  at 
the  same  time  or  by  turns,  they  mnst  oba«rv«  i»  relalin  order; 
Nothing  must  mutually  warn  them  fff  (kcir  pretence ;  they  must  fiit 


Digilized  by  Google 


ON  THE  tONSTBrCTION  OF  DrETf.  45 

bn  tlic  order  (lictRlcil  bj  their  sentiments;  but  if  llieie  ientimenli 
giTC  tliem,  at  ccriain  limes,  f  lie  liberty  either  to  speak  or  be  silcnl, 
the  masician  will  make  the  choice  ot  mastcal  beauties,  according  ai 
contrast  and  tnilh  ma;  reqaire.  InshortjtheseDuosBlioald  be  com- 
poMd  of  two  distinct  aii^  eacb  of  which  must  be  the  foithfal  Tepreaen- 
tttEon  of  tbo  sentiments  of  bini  nhoperfbims  it;  and  when  tfae  feel- 
ings of  the  two  persons  differ  extiemdj,  these  two  aiis  shoald  onlf 
have  harmonj  nnd  time  in  common. 

Wlijit  is  to  be  done  here  wilb  the  orchestra -'  What  expression 
Hill  it  ciiiploj-  ?  Will  there  not  be  much  difficulty  in  giving  it  two 
images?  And  lum  Mill  it  !iu  coiuludei!  in  order  that  encli  of  these 
images  ihali  be  perceptible  only  to  Ihc  individual  fur  whom  it  is 
desliuei!  ? 

This  is  one  of  the  most  diiScult  points  In  musical  art.  I  doubt 
Tery  much  if  many  composers  have  erer  eren  thought  of  it.  Here 
the  musician  mast  redoable  )iis  efibrts  that  be  roay  freely  employ  all 
the  resoaices  of  bis  art,  and  use  with  facility  all  the  means  of  ex- 
pression, and  abore  all  have  reconrse  to  genius  oi  to  quick  feeling, 
in  ordor  at  least  that  he  may  commit  only  forttinate  fanlla. 

He  will  profit  by  those  moments  of  passion  when  the  actor,  (hint- 
ing only  of  himself  and  of  the  internal  feeling  which  governs  him, 
pajB  DO  Kgard  to  that  which  surrounds  him;  he  will  in  such  a 
moment  cansc  the  strong  expression  of  (be  passion  of  the  other  per- 
son to  appear,  or  \\ill  place  both  images  in  the  orchestra;  he  will 
divide  them,  if  I  may  use  the  term,  as  much  as  possible;  he  will 
render  tliem  vtry  dislinct ;  be  will  represent  them  by  instrument* 
widely  reniovcil  from  each  other,  both  in  the  nature  and  pitch  of 
their  sounds;  by  this  nieitns  if  one  of  the  actors  tarns  hisalteotion 
towards  ttie  ordicslia,  lie  may  in  some  degree  consider  one  image 
without  observing  the  other.  ^ 

The  composer  may  also  weaken  the  two  images  to  such  a  degree 
that  to  the  acton  they  almost  bccome'nothIng,Bndoiilyexisftoadd. 
(o'the  emotiont  of  the  spectators.  Thas  the  orchestra  will  give  one 
peribrmei  no  information  of  that  whicb  concerns  the  other,  since  it 
hardly  instncts  him  in  that  which  concerns  himself.  Besides,  even 
shoald  the  images  not  be  piomEoent  is  it  not  natural  that  each  per- 
son should  occupy  himself  with  the  representation  of  his  own  afibc- 
lions }  He  will  take  a  greater  interest  in  it,  be  will  mine  easily  dis- 
(ingaisb  it    Would  not  one  perceive  tin  otiject  one  lovw  in  the 


46 


ON  THE  CONSTKDCTION  OF  DUBTS. 


niidit  of  a  nunterous  croTrd,  altlioagli  one  doei  not  recognize  ma njr  of 
ibe  pereoDB  BurToiuiduig  (he  belored  object." 

All  tbUtheoi7  u  ingenioiu;  BUboii^  it  nutj appear lar-fett^ed  to- 
common  mauciant,  itdeservei  deep  consideration  from  real  attiaU : 
it  Ixlongs  to  Ibe  general  theory  of  accompaniments,  such  as  M.  la 
Cef£PB  considers  tbcm  Ihrotiglioiit  Ills  work,  ivIicrL-  lie  represents 
tbe  oicheatraas  the  Oisislant  lo  llie  actors,  as  tliL'  oigaa  ol' their  most 
secret  pauiont,  and  the  interpreter  of  their  gestures  when  the  voice  is 
not  heard. 


EXTRACT  FROM  THE  M.S.  OF  FRANCESCO  BIANCHI. 
Contmufd/rom  page  44? j  vvL  % 

ON  THE  PROPERTY  OF  PROPORTIONS. 

It  it  extremel/  nsefiil  to  tiiote  irho  itadj  (he  treatise  by  ourabets, 
likewise  to  bo  acqoainted  with  tbe  property  of  ptoportiom.  In 
every  aritlnnelical  proportion  of  fiinr  terms,  the  amount  of  the  ex- 
tremes, that  is  to  my,  of  the  first  and  last,  ii  equal  to  the  araonnt  of 
the  two  middle  lemis,  viz.  (he  seoond  and  thirds  and  ifttierearebat 
tliree  terms,  the  aroounl  of  tbe  extremes  is  equal  to  the  middle 
nitmber. 

Exnni  ];1ps. 
9  !  7  ■.-  6  :  3  9,7,5 
7  n'nd  a  is  equal  fu  [2.       7  anil  7  is  equal  (o  14. 

9  iind  3  is  I'qu.il  lo  19,      9  and  5  is  equal  lo  14. 

In  all  geometrical  proportions  of  four  terms,  the  product  of  the  ex- 
tremes is  equal  to  the  piodoct  of  the  two  middle  terms;  and  if 
there  are  three  terms,  tbe  prodnct  of  tbe  extremes  ia  equal  to  the 
square  of  (he  middle  term,  (hat  is  to  say  lo  Ibe  middle  numbw  mut 
liplied  into  itself. 

Examples. 

S  multiplied  in(o4  is  equal  to  SS.  ^multiplied  iiito4  is  equal  lo  16. 
ISm'uUipliedinto'SucqualtoSS.    8  multiplied  intoS  is  equal  to  16. 


OigitLzeao/  Google 


HAXUSCBIFT  WORK.  OF  FBANCEMO  BlANGHl.  47 


In  a  sericj  of  many  teims,  mulliplj-ing  Lhc  Sni  into  Uielast,  tbe 
sccOTiil  into  tbc  lost  but  one,  the  third  into  the  last  but  two,  sjii  bo  oa, 
the  product  of  all  these  multiplications  arc  equal,  and  ifllie  terms  are 
uneqnal,  tlie  miiidle  term  multiplied  into  itself,  is  exactly  equftlto 
all  tbe  othor  given  products. 

Example. 
:  :  8,  4,  8,  16,  3S,  64,  128, 
16  into  16  equal  to  356 

8  into  38  equal  to  £67 

4  into  64  equal  to  Sfi6 

2iDlolS8eqnBtfoS59 

From  tbesB  propertiei  of  proportions  and  of  tbe  geometrical  aeries 
ud  of  seTersI  olbeisi  vhicb  it  is  fiiieign  from  oarptetent  intention  to 
point  oat,  there  are  many  geometrical  rules  derived  for  sol  viog  prob- 
lems, whicli,  if  the;  arc  not  absolutely  useless  for  our  present  object, 
are  nevertheless  unnecessary,  liuce  we  have  explained  of  what  im- 
portance ii  is  to  know  tlie  solid  fouadations  of  music,  although  they 
are  iiisuQicient  to  form  a  system.  Neveithelesi  as  it  may  be  de>ira> 
ble  to  know  what  would  be  the  middle  or  proportionat  Uiird  sound  of 
iHo  givci)  sounds,  or  the  foiutb  of  three  given  sounds,  &c.  we  shall 
here  give  some  rules. 

I.  Two  sounds  being  givfin  wliich  liaye  (Lo  length  of  their  strings 
ill  llie  proportion,  or  rather  in  liic  ralio  or  IGlciS,  and  we  would  know 
the  third  proportional  sound  (wliith  being  unknown,  it  is  customary 
to  write  and  call  x)  the  second  term  8  is  multiplied  by  itself,  and  tbe 
piodiict64  IB  divided  by  the  first  term  [6  ;  the  quotient  4  irhich  re- 
sult will  be  the  onknown  term  :i:,or  the  length  ottbe  third  proportional 
striog,  which  wBi  to  bo  foond.  Therefore,  ===  16,  S,  x,  be- 
comes a  continued  geometricat  proportion  of  ====  16,  8, 4. 

Ih  Take  a  first  and  third  term  to  find  a  second.  :  t  IS,  :r,  4; 
multiply  the  first  16  by  the  third  4,  and  extract  from  the  product  64 
the  square  root,  tbe  quotieotS  wUl  be  the  number  soi^ht;  then  trom 
16,  X,  4,  is  d«ived  i .  10,  8, 4. 

III.  ThefiiBt,  second,  and  third  leimbeinggiven  to  find  a  fourth, 
16, 8,  4,  X,  malUply  (he  two  middle  terms,  that  is,  tfaesecond  8  by 
the  third  4,  nad  diride  the  ]^uct  38  by  the  first  terra      and  the 


48 


HAMUECRIPT  vrOBK  OF  VIU\CE!<0  BIANCH). 


quotient  9  vill  be  the  x  sought  fur ;  hence  from  :  :  16,  8,  4,  z,  the 
geometricaL  proportion  muKi  16,  8,  4,  S.  If  the  three  Int 

ternu  nere  given  to  find  a  fiat,  the  same  operation  bj  multiplying 
the  Beeond  and  (he  third  must  be  nsed,  and  instead  of  dividing  the 
product  by  the  first  (erm  16,  it  mast  lie  divided  bjr  tbe  last  term  % 
that  is  to  say,  from  ====  x,  8, 1  fi,  will  equally  resalt, : :  f  0, 8, 4,  S. 

IV.  The  first  and  the  fonrth  terms  being  given,  nnd  the  first  or 
second  of  the  two  middle  terms  to  fitid  aaolher,  ns  1H,  S,  or 
16,  z,  4,  S.  In  the  first  case  multiply  llic  first  term  Hj  by  the  fourth 
2,  and  divide  the  product  32  by  the  seconii  8,  anil  tlie  quotient  4 
will  be  the  rcauil ;  aad  in  llic  second  case  t!ic  same  prodact  of  the 
two  cstromcs,  32  divided  by  Ihetliirdi,  the  quotient  8  is  derived; 
therefore  from  IG,  S,  ,r,i',  or  IG,t,  I,  3,  will  result  the  same  geDme> 
trical  proportion:  =7=  -\  '    IC,  8,  4,  2. 

AHthete  modei  of  finding  one  of  the  Icmis  nhich  nrc  deficient,  are 
derived  from  the  prodact  of  tbe  extreme  being  equal  to  that  of  the 
middle  terms  from  the  qtutntities  which  are  proportional ;  whence  it 
isevident  that  if  you  divide  the  product  of  the  cs Ironies  by  one  of 
the  meaiu,  or  tbe  two  means  by  one  of  the  extremes,  a  qnotient  will 
be  given,  which  being  multiplied  together  with  the  divisor,  will  pro- 
duce the  same  product  as  the  extremes,  or  the  middle  terms  divided 
by  the  extremes ;  and  this  knowledge  of  the  subject  is  sufficient. 

The  same  operation  is  gone  through  to  find  one  of  the  terms  of  an 
arithraeticai  proportion,  wilti  this  sole  dilfercncc,  that  in  a  geometric 
cal  proportion  we  multiply  the  ligures  and  divide  the  product,  and 
in  an  arithmetical  proportion,  from  liic  sum  subtract  the  given  term. 
^igns  of  Ahbrcmaliam. 
In  every  work  in  uliicli  proportions  have  a  place,  it  is  customary, 
far  the  sake  of  abrldgemejil,  fu  m;\\.c  use  of  signs  of  abbreviations, 
which  spare  the  writing  many  words,  wc  shall  therefore  give  their 
explanation  as  follows : 

Arithmetical  praporfioa  ia  nritten  thus:  8  :  -.-  4  :  3. 
Arithmetical  progression  thus:  18,  15,  13,  0,  6,  3,  1,  &c. 
Geometrical  proptntion  is  written  AOS :  8:4  ::  0:3;  orDo:  Fa  :iR«:Sd. 
Geametrical  progresdon  Is  erpreued  thus  t 
====  3, 4,  8,  IB,  33,  04,  or  ===:  MI,  La,  Re,  Sol,  Do,  Fs. 
Geometrical  proportion  ii  alu  written  thu : 
S:a=4:3;aTDa:Fa  =  Ite:Sol, 
Tldi  liga  —  meam  like  or  egua  to;  a),  4  =  4,  or  Do  =  Do. 


HANUSCRIPT  yroSX  OF  FRINCSSCO  UIANCHI, 


49 


4,  with  0  idded,  or  aay  other  namber,  U  written  thut :  4  -|-  6,  D*-j-  Mi. 

Jjm  3  or  4,  or  3  Di  any  other  number,  is  vrritlcn  thus : — 3, 
One  number,  multiplied  into  anotlicr,  (bus:  G  X      it  Do  X 
Taeipressthat  0  i^gri^ater  than  4,  orany  othcrnumbcr  H'ritten,  thul:  6  >  4. 
To  express  that  -)  i?  Ic-..-  than  ti :  thus  4  <  6. 
Major  ii!  mu-k  >viili  ii  iVi.-=\~, :  lliu.  «  Do  J' ■«  Jli,  that  U  a  ziiaj^r  thitfJ. 
MiTior  uilh  a  /lul  T  thus  b  Jli  3-b  Sol  minur  llii.d. 
DiimnUhrd  »iLli  a  imc  lbtuu|^h  thi'  ,U-m  of  (be  Hat:  lie  %  S'b  iliiniuiihed 
third. 


Exceeding  or  Super/luous,  a  Diesii  with  Ibree  ban. 

Fa  6>*  Rtf  uiperflaaas  slzlb. 

A  iquare  numbn  ii  Hritten  thoa 


A  square  root  h  written  (I 


A  cobe  root  is  written  thoa 
Initead  tlien  of  writing  in  woida,  CDirespondiiig  aigna  an  med,  aa 
ID  tbe  following  examples :  ▼ 
6  4  3  into  IS  to  M 

e    +    4    —    a      X      IS     =  8i 

84  is  greater  tlian  40,  and  40  is  less  than  60 
84         >        40,  and  40       <  60 


On  the  Leagtk  of  the  Strings  and  the  Ralio  betwun  oil  PraeUeal 

IntercaU  of  Modem  Music. 

In  ortler  to  comprehend  the  ubc  of  proportions,  it  is  nccesEar^  to 
know  ttie  ratio  between  all  tlic  practical  intervals  in  modem  maeic. 
Wt  Ijave  already  slieivn  tbat  the  coinpatison  or  examination  made  by 
geometricians  beliu'eu  a  grave  and  an  acule  sound  may  be  arithmetical 
orgcontclrical ;  that  which  they  term  ratios  mnsicians  call  interval* 
or  distances ;  by  these  latter,  therefore,  such  an  examination  may  be 
coniideTcd  arithinelical  aa  well  as  geometrical  tince  it  leads  to  tbs 
lame  end.  ' 

A  Kinnd  is  more  grave  in  proportion  to  tbe  length  til  the  string 
which  prodnces  it.  By  shortening  or  dividing  this  stnng,  eveiy  divi- 
■lonwill^vemoreacuteBmindBtbantheenUtastriDg;  and otold tli* 
T«L,  III.  n.  II.  a 


50 


BIANUSCKIPT  WOBK  OF  flUKCESCO  BUKCBI. 


nraefllring  be  divided  ad  infinitnto,  itwonld  produce  in6n{te«Hinds. 
IneveijBjstem  the  most  na(ara[and  practical  Monda  are  IN1I7  wreD; 
tbe  octave,  vrfaich  is  prodaced  b;  balf  (be  afring,  is  like  Ibe  first,  and 
only  a  more  acute  octave.  There  sre  nevertheless  no  new  lonndt 
vUhiti  the  first  oclnvc  tvliich  Iinvc  m>t  others  rcspmbling  them, consc- 
qaently  tlic  octave  is  llie  confine  of  (lie  perioil  or  the  term  of  every 
Byslem.  It  llicrefure  happens  as  a  corollary  that  every  sound  has  at 
tbc  end  of  i(s  oc(avc  flic  ^nnti'  jiciiml.  Hence,  nhcn  the  system  of 
one  is  knovin,  thai  »'ln>:lt  I.^loo^s  l<>  the  olliers  be  manirest, 
since  Ihc  strings  whitii  pnidiicf  tin;  fniiiid!,  ln.'iiijj  alike  in  Iheir  Datnies 
Ibcy  must  also  be  in  every  respect  alike  in  all  I  lie  ir  relations. 

Each  of  the  seven  natural  snnnds  compared  with  all  the  otben, 
form  ainongsl  Ihemselves  tliff'erent  degrees  of  acutenen  01  gravity, 
vhicb  degrees  produce  different  distances  called  inlervala;  these 
different  intervals  united  together  are  those  wbicb  constitute  the  dif- 
icrent  harmonics  in  music.  Sounds  tberefore  bring  thesmallettcom- 
poncofs  of  the  several  intervals,  it  is  consequently  necmary  to  be  ac- 
quainted with  the  ilillerent  degrees  wliicU  constitute  them,  and  the 
parlieular  furin  of  tacli  iiilcrviil. 

iiit('rv[ils  are  of  liirce  kinds — iliatonic,  chromatic,  and  enharmonic. 
All  (he  dilicreiit  combinations  ivliich  can  be  formed  by  these  seven 
natural  sounds  arc  called  diatonic,  because  Ibcir  components  are  so 
many  degrees,  the  greatest  distance  of  ivliich  is  9  to  8,  called  a  major 
tone,  OS  Do  (0  Rc ;  that  is  lo  eay,  if  the  firat  string  Do  is  nine  inches 
long,  tlie  second  Be  is  eight  inches,  and  the  smallest  distance  is  from 
16  to  15,  a  diatonic  major  scmilnne. 

The  modern  scale,  for  example,  is  composed  of  sis  tones,  of  three 
iatheistioof  StoS,  called  major;  oftiro,  called  minor,  in  the  ratio 
of  10  to  9;  and  at  (wo  najoT  semitones,  in  the  ratio  of  16  lo  15. 
These  then  aretbe  smallest  component  degrees  of  the  said  scale,  and 
of  the  diatonic  genus,  (he  fundamental  genus  of  all  post  and  future 
ages. 

9  to  8      JO  to  9      IG :  IS      9:8      10 : 9     9 ;  8      16 :  15 
i>o        Re  Mi         Fa      Sol       La       Si  Do. 

C,       I>,         j:,        F,      g,      a,      B,  C. 

Tlic  cbroinatio  intervals  arise  from  dividing  the  minor  tone  10 : 9 
into  two  pails ;  that  is  by  subtracting  the  major  Kmitcme  16 : 15  from 
the  said  ratio  10:9,  whiob  subtraction  piodncea  the  minor  semitone 
in  the  ratio  of  95  (oS4.  Ai,  fi»re»mple,  lalu  lha  minor  lone  Sol  to 


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MAKCURIPT  WORK  OF  rnANc;Ef;fi>  iiiAJicar, 


La,  ir4kis  H  divided  in  two  patts  by  subliacling  lite  aemitoM  16: 15 
■iBdlowBi  10:  9  tlie  remaindet  ii 

16^(5 

130:  Mt 

150 :  Hi,  which,  rs'.fiici-a  (q  il:c!,iii^:k'.-i  a-rms  by  dividing  150  (o  144 
by  G,  tlliL'  coiiiiiioii  div  iior  fut  ih::  f:..J  r.iiu.)  !!;.:  ratio  23  to  2i  will 
'leiull,  culkd  a.  uiiiiiir  or  cIiron:;ill.:  snnii.i;.!-.    Sul  iiiid  iaaie  divi- 
ded In  tliefollouLiij,'  uiiinni^r,  by  SiU  p  liii:?;^— that  is 
Miir>,  -lu..o.  nl.jor  Tone. 

Sol  2u  :  y-E    Sii!  t    10  :  ir»  Lit 
10  lo  » 

Into  two  semitones,  Oie  first  luiiior,  a:id  calli^d  cliromatic;  tiie  second 
major,  called  dialoiiic.  Tilt  clloct  of  fliis  division  is,  that  all  thete 
iiitorvnis  »Iiich  w.vc-  i^'rlVcl  ivilhib,:  Sid  are  altered  hjtbo Sol «  and 
nil  llii-  nllrralioiis,  lli^il  tliii  .Sol  »  produces  ore  called  cbiomatlc,  at 
Wft  s!i:in  icc  in  llii'  annexed  tabic. 

Tor  the  f:in!c  reason  the  enhannonic  intervals  result  fitHs  rabdU 
vidiii;  10  :  Ij  into  two  parig,  b;snbtr&oting.tlfoniinotBGmibme2S:S4 
from  the  major,  from  which  regults  a  lemitone,  called  the  leait  in  the 
iBlio  of  138  lo  135.  Examplea — minor  semitone  called  diiomatic, 
leastsemltonecalled  eobarmonlc. 

Mi      SStoSl  Mi»       198  to  135  Fa. 

Hajoi  semitone,  called  diatonic. 
16 :  15. 

AU  tbese  sabili visions,  or  differences  of  tones  and  semitones,  arise 
from  transposing  the  natural  or  diatonic  scftle  upon  another  <tf  the 
(ounda  vbich  compose  iL  As  the  degrees  from  the  first  to  the 
second  sound ;  and  from  this  to  tlic  third,  fourth,  Sfc.  have  not  the 
same  distances  between  tiiem  ;  therefore,  as  there  is  bnt  one  natural 
scale,  by  tranr^posiiig  it  to  any  other  sound  whatever,  it  is  necessary 
to  alter  or  subilividc  certain  given  sounds,  in  order  to  place  between 
the  degrees  of  the  new  scale  it  is  intended  to  form,  the  same  distances 
and  dill'Tcnccs  ru]i:aincil  in  (lie  primitive  scale. 

Oljsctve  Uiu  folio iving  table,  in  which  nrc  contained  all  the  inter- 
vals used  ill  modern  music.  Tho  figures  express  the  ratios  or  length 
of  the  strings  which  produce  the  sooads,  ia  the  foim  of  the  difibrcBt 
intervals :  the  mtaea  of  tlie  soUeggio,  the  loiuids  which  compoH  he 
h2 


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■AlnnCKIFT  WOfU  OF  rUNCEIGO  BUMCHI. 


aboTc ;  and  (be  names  wliich  express  the  terms  by  nhich  tiie  int«- 
Tals  are  called— that  is  lo  say,  that  trliich  is  indicated  bf  the 
esponcnf. 

Table  of  all  the  practical  Intervals  in  Music. 
DIATONIC  INTERVALS. 


Major  temitoDe,  called  a  mi 
Minor  tone,  called  (lt'lld<;[ii 
Major  tone,  called  a  muj'ir 
Minor  third,  dcficieut  by  a 
I'erffft  minor  third   


Minor  fourth,  iiii-rrasci 
Minor  fnutt!t,ralk'dtr 


Piir.  Lt  (.Hh    3  to 

Minor  biilh   8  10 

Major  «xth   5  to 

Major  sixth,  increased  a  comma  '37  to  1 

Minorseicntb    16  lo 

Mtnor  serenth,  Increased  a  comma   S  to 

Major  seventh   15  to 

Octare   1  to 


CHROMATIC  INTERVALS. 

Cliromatic  semitone 

  S5  lo  S4  ., 

,  Sol  to 

Sol* 

Incren'i'd  £<;cond,  c 

ommonly  called  super,  j    „  ^  84  .. 

Do  to 

Rett 

A  minor  tliird;  lha 

Is  to  say,  less  than  aj  jjjtoSSS  .. 

..  Re«to 

Fa 

I)uninishi;d  Toutlh; 

(hal  is,  less  than  IhcJ    „  , 

..  Do«to 

Fa 

Major  fifth,  coinmon 

ycaileasu[.erriuous....  23  tO  16  .. 

,.  Do  to 

Increased  uitb,coai 

nioDlycallcdsuperfluous..336  tolSS  .. 

Fa  to 

Rett 

Diminished  scTenth 

that  is,  Icsthaathejj23j^„  __ 

..  Re«to 

Do. 

AKIiougli  (be  enliarmonic  genus  is  not  used  in  modem  music,  jet, 
OS  it  coiisials  of  difTercnl  ratios  or  intervals,  'wesliall  mention  lliem 
here  as  one  of  (he  smallest  omponi.'iits;  as  uc  shall  alto  speak  of 
timsa  used  by  (lie  Greeks. 

Tbat  nbicli  is  iniproperlj  called  by  (he  moderns  The  Enharmonic 
Diesis  is  the  n(io  of  128  to  125,  which  ieiolta(ai  we  hsve  alreadj 
shewn}  by  subtiacting  the  minor  iemitone  £5:84  from  U10  major 


HANL'SCItlPT  WOltIt  OF  FRAK(ESi:0   BIANCIII.  53 


16 :  15,  ivhencc  il  is  no  oilier  IIlc  sm;illL'sl  coinponcnt  of  tlie 
will  ninjor  stmitonc;  anil  :is  lliu  iiujlIoi  ei'.  (uily  um:  this  divi^iion  lo 
pass  from  Mi  lo  Fn*  by  5t[il.jn^'  l!ic  Mi'^  iliisib,  il  is  liit'reforo  im- 
properly callcil  Eiiliarmoiiic,  since  it  Ls  never  uxtl  lo  pass  to  tlic  Fd^ 
—that  is,  as  follows :  Mi^  Mi%,  Pa. 

Th«  Giveks  divided  tbe  major  Minitone  16  : 15  in  varionswajs; 
(heir  enbarmoDic  semilonc  has  therefore  various  forms. 

Kiiharnioiiie  of  Archilu«          ^fi  lo       n^ti<lur      In  17,  equal  la  10  lo  15 

ihiharoionicof  Ptolcm)',,..  :  1.^.  rcsiiiuc  y4  :  23,  =  16  :  IB 
EahBrmonicorDidinius....  3'2  %  ^1,  residue  31  :  30,     =     10  i  1  5 

''tr.r£lit""."H° - 

Tiic  last  example  shens  that  Crostoxcnca  and  AriatoxeDeibave  har- 
monically diritled  the  minor  tone  10  to  9  into  ■^■^■in  and  thej 
bate  equsU;  labdivided  the  minor  semitone  iV  to  rs  by  (be  enbar- 
monic  diesis  into  iV>  iVi  rather,  they  haT«  inversely  atilhmcli- 
cally  divided  and  inbdirided  it  t  &>■  SO,  19  18  =  40  38  36, 
and  snbdivided  40  39  3S 

Among  the  smaltest  components  there  Is  also  a  comma. — This  ii 
no  other  than  the  leaat  of  all  the  difierences  among  thedi&rent  inter- 
vals. There  is  the  dd  comma  of  Fytbagonu  In  the  ratio  £31441  to 
534SS3,  and  the  modem  comma  in  the  ratio  of  SI  to  80. 

The  Pythagorean  comma  is  the  ilifference  which  results  from  Iba 
comparison  of  13  fifths  anil  T  oclnves ;  thut  is  lo  say,  as  lite  double 
profircssion  produces  so  many  oclaves,  whicli  are  equal  sounds  lo 
Ibc  fir^l,  iiiicl  the  pro^ressioiL  3  lo  1  (oalli-d  !icsi]iii;.lleral)  produces  so 

aie  proiiiii:e>l  l.yllu-Uvo  series— thai  is  llie  di.iililc  of  2 :  I  l,y  ll.j 
octaves  and  scsquiallcia!  3  lo  ^  Ijy  the  iifihs,  ihc  sounds  moisting  nt 
the  twclftli  tilth,  vi/.  if  ihcy  approximate  to  Ihc  unison  of  tlie  seventh 
octave;  but  Ike  Iwcirth  fifth  nevertheless  surpasses  ilby  the  difiercnce 
of  the  Pytliagorcan  comma.  Hence  tlie  given  sound  Do,  its  twelAb 
fiflh  and  SoI«,  nbicb  surpasses  the  seventh  octave  of  Do  in  the  ratio 
£3144 1  to  5S4S88.  This  same  comma  also  resalts  ftom  the  compa- 
ri»n  of  three  thirds,  in  the  ratio  of  81  to  64  with  (he  octave  S  to  1, 
The  soaads  therefore  meet,  but  are  never  eqnal ;  if  this  were  tbc  cose, 
mosio  irotdd  be  circular,  and  consequently  fixed  in  its  dunensiont, 
trbiofa  is  not  the  fact. 


bi  MAirmCRIPT  VOBS.  OF  FlUNGBSCO  BIAHCai. 


The  modern  comma,  81  to  80,  is  the  diBoence  wliidi  malb  fimn 
thecompariwaof  tbediffereBt  iotenalsof  theaccoud,  third,  &nrUi, 
&C.  that  is  to  uy,  bjr  compkring  thirds  or  fanrths,  &o.  .nitb  olhen, 
vhich  comparisons  ate  piacticable  la  muiic,  it  is  Toiuid  ibst  some 

increase  and  olhers  ilecrensc,  lo  llic  JilTeroiice  uf  SI  to  80,  tvliich 
forms  the  snid  comma. — As  for  csuraplc :  llic  minor  semitone  of  Pj'- 
tlmgocas,  called  Limmn,  in  tlie  ratio  of  <o  2i3,  is  less  than  llw 
major  somiloiie  IG  (i>  I^,  \>y  (Ms  rnfiii  B!  tii  SO.  Hence  tlie  limmu, 
ivilii  llifi  coiiini:!,  c;,>i.i|insp  Uic  lu^ij.ir  sciiiKoiie  IG  lo  15.  The  IRld 
coTiima  is  lilii'ivisc  (lie  ilill^n-m-i;  brlnwii  llio  m;ijor  toneQ  to8,uDo 
to  Itc,  iind  llic  minor  II)  to !),  ik-  lo  Mi ;  bclivei?Ti  (he  diminishrd 
minor  Ihiril  32  to  S7,  as  Re  lo  Fa,  nnii  ihc  [icrlVct  minor  G  lo  5,  .is 
Mi  lo  Sol;  bclwcon  the  minor  fontlh -i  :  .'J,  Mi  :  nnil  li:e  in- 
creased  27 :  SO,  as  La  to  Kc ;  bctnecn  tlic  diminished  finh  40 :  S7,  ns 
He  lo  ha,  and  the  pevfect  Gflh  3:2,  as  Do  to  Sul.  This  comma  Is 
tiie  diSbrence  behieen  the  diminished  minor  sixth- 1S8:8I  and  the 
perfect  8:5;  between  the  major  sixth  5:3,  as  Do  to  Ln,  nnd  tbc 
snpcrfiuous  S7:  16,  as  Fa  to  Re;  ami  lastly,  between  the  minar 
seveJiUi  IG  loO,  as  Rc  to  Do,  and  the  superfluous  9 : 5,  as  Mi  (o  Re. 

Tliest!  two  commas,  namelj',  the  Pythagorean,  and  the  modem 
diOei  between  Ihcmsclvcs  by  scarcely  a  tentli  part,  thai  is  to  t^, 
tfaftt«f  Pythagarbs  b  greater  than  the  modern  by  a  tenth  put. 

Example  : 
Modern  comma  81  lo  80. 
Pylhngorean531,4'ttto524,288  asl8to79. 
vhich  fraction  corresponds  •a'ltb  nine  increased  decimals,  or  lo  one 
tenth  put  added  to  SO. 

Of  Compound  Interxak. 

The  nature  of  the  least  components  having  been  examined,  it  is 
necessary  lo  cotnpielicnd  t lie  form  of  compound  intervals.  Aslbe 
first  are  various,  lliu  inuilc  of  composing  the  second  is  also  different, 
Lut  ni:  shall  uEily  exjilaifi  here  the  most  natural-  and  the  most  simple. 

Tilt:  c.jiniHinenls  of  llie  Pythagoreans  were  the  minor  semitone  in 
llie  ratio  of  25G  to  243,  called  Limma,  and  the  major  in  the  ratio  of 
2187  to  S04S  called  Apoiome.  These  (iro  semitone*  ibraied  thaii 
major  lone,  and  in  tbcit  diatonic  genus  they  had  w  other  compo- 


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HAHinCmFT  WOKK  DF  nUSCESCO  lUUIGHL  95 


imtt  Iban  tliow  lm>  (smUonet,  and  tlift  major  tcne  9  ;  8:  conifr 
qoMitlj'  tketr  ninor  sBCond  wsi  the  Mid  h\mta%  S56  :  915;  Uio 
major  aecood  was  the  Major  tone,  compoied  of  the  same  Limina 
and  the  Apolome,  which  is  the  reaidue  of  the  uid  tone.  The  tone 
with  tlic  Limniit  formoil  titcir  diminiihcd  minor  third  !n  the  ratio  of 
SStoST;  nnd  two  mnjor  lonra  their  major  third,  in  the  ratio  of 
81  to  61,  increased  from  the  real  hnrmonictliird  3  :  4,  by  the  modern 
comma  81  to  80.  Two  major  tones,  or  Ihcir  major  third  81  to  04, 
with  the  Limmn,  formed  Ihc  fourth  4  to  3 ;  and  (he  fourth  with 
Apotnmc,  constituted  the  major  fourth  Ti9  to  512.  Tills  fourth 
could  also  be  formed  with  three  major  tones,  and  which  wai  there- 
fore called TtiUrao).  The  minorfourth,  with  the LiniDia, formed  the 
mhuM  fifUi  10  i  Si  to  7S0.  The  minnr  fourlb  4  :  3,  with  the  mtyoT 
tone  S  t  8,  formed  the  perfect  fifth.  The  hannonj  of  the  major 
third  and  fifth  oftfae  PjHiagorean  was  composed  of  two  major  tone^ 
fiMming  the  inpHfinons  miyor  third  81  to  64,  and  of  a  diminiiliad 
minor  third  38  to  97,  composed  of  a  major  tone,  and  of  the  Limma, 
nnd  the  harmonj'  of  the  minor  fiiird  and  li fib,  opposite  in  every  re- 
fpccl,  llial  is  to  say,  of  a  diininisliet!  minor  third  direct  upon  the 
grave  sounil  anil  ot  a  soiirr/luous  major  Ihiri!,  the  coroplenient  to 
llics.-iiil  nflij.  The  ni'lli  Willi  the  ]Amnm  composed  the  minor  sixth 
m  :  Si,  a  commn  le:^^  tlinii  tlic  red  linrmoaic  sixth  8  :  5.  The 
fifth  w  illi  the  iiiiijiir  (i)iic  forinet!  liicir  major  sixth  87  :  16,  greater  by 
a  comma  lliaii  l!ic  ri'al  ti\th  5  :  J  ;  and  the  sixth  with  the  Limma, 
the  minor  sevciitli  IG-.O;  and  the  Mh  with  the  major  third  81  :  64, 
llieir  major  soventli  'Jl'J  :  128.— Lastly,  the  fifth  3  :  2,  with  the 
fourth  4  ;  S,  formed  the  octave,  and  these  are  all  the  compound  in- 
lervaii  of  the  Pythagorean  sjstem. 

The  tenth,  deventh,  and  twelflh,  are  by  nime  called  compound 
interrals,  but  this  is  more  from  abuse  (ban  reason. 

All  tbe  Greek  authors,  after  the  Pythagoreans,  besides  this  sys- 
tem of  thirds  and  major  sixths,  increased  by  a  comma  from  the 
real  harmonic  thirds  and  sixths,  and  of  the  diminished  minors,  have 
also  adopted  the  modern  system,  tIi.  that  which  is  derived  from  Ihe 
division  of  the  string  in  an  harmonic  scries,  1 1  t  z,  Sec.  and  they 
made  use  of  bolU  systems,  as  we  ourselves  do. 

The  modern  scale  as  we  have  pointed  out,  neither  admits  the 
Limma  nor  the  Apotome,  but  only  the  two  lonea  m^jor  9 1  8,  and 
minor  10  :  0,  and  the  ma^T  saiitone  16  :  IS ;  Ibr  the  diatonic 


fi6  MANUSCBIPT  irOBK  OF  rlUKCMCO  BUNCHL 

genui  &nd  foi  tbe  cliromatic  genu*  the  tntnor  fiS  ;  94 ;  the  compo- 
sition of  tbe  intervals  is  tliuiefore  different  from  those  of  Pj'llingoniB. 

The  minor  second  is  the  semitone  Ili  :  }j,  Mi  to  F.i  •  Ihc  major 
is  the  iDBjor  lone,  composed  of  a  mciilHl  semitone  IJjj  :  138,  iind  of 
the  major  IG  to  15,  as  Fa  to  Sol,  comiHib.-il  of  I'a,  !'a«,  Sol.  Thnre 
is  another  migorsrcoiiililericipnl  lij- the  comma  81  :  80,  which  is  tlie 
minor  tone  composed  of  tlie  minor  semitone  33  :  Si,  and  of  tbe 
major  16  :  15,  as  Sol  (o  La,  composed  of  Sol,  Sol*,  La.  Tbe  major 
tone  9  :  8,  with  the  major  semitone  16  :  15,  forms  the  pcrlbcl  minor 
third  6  :  5,  ns  La  to  Do,  composed  of  La,  Si,  Do.  The  minor  lone 
9  :  10,  nith  the  major  semifonc  16  :  15,  forini  the  minor  third  3S :  27, 
M  H«  to  Fa,  vbich  is  a  comma  leu  than  the  perfect  miaor  third 
6  to  5.  The  m^'or  tone  9  to  8,  with  the  minor  10  to  9  couBtitnte 
the  major  third  5  to  4,  as  Do  to  Mi.  Tlie  major  third,  with  the 
rn^oc  semitone,  form  tbe  minor  foDTth  4  ;  S,  as  Do  to  Fa.  The 
minor  third  6  : 5,  nith  the  major  tone  9 :  8,  constitote  a  minor 
foQrtb,  iocrcaied  hy  the  comma  81  :  80,  in.thc  ratio  of  S7  :  SO,  ai 
La  to  Itc.  The  major  Ibird  5  ;  i,  vrith  the  major  tone  9:8,  form 
the  major  fourth  i5  to  3:i,  as  Fa  to  Si,  which  fourth  is  alK.ealled 
tritoniui,  because  its  diatonic  progression  is  by  three  tones,  tvo  major 
of  9  :  8,  and  one  mmor  of  10  to  9— that  b, 

9:8       10 : 9  9:8 
Fa      Sol        La  Si 
Sd« 

M.ijor  Fourth. 

The  minor  fifth  C4  : 45,  as  Si  lo  Fa,  is  composed  of  a  fourth  4  : 3, 
and  oftbe  major  semitone  16:  l.*),  and  the  iliioinislicd  minor  of  jiito  27. 
The  i>crfi'et  fifth  3 :  'i,  as  Du  In  Sol,  h  composed  of  (wo  Ibirils,  one 
major  tbe  other  minor,  or  of  n  minor  foiirlb  4  : 3,  and  a  mojor  lone 
9:S,  The  fifth  diminislied  from  the  perfect  is  composed  of  two 
thirds,  one  diminished  minor  38:  S7,  the  other  major  5:4,  and  is  in 
the  ratio  of  40:97,  as  Re  to  La;  this  may  aUo  be  formed  of  a  minor 
fourth  4:  Sand  a  minor  tone  10:9.  Tbe  tninorsixlli  8 :  SjasMi  lo 
Do,  it  composed  of  a  perfect  fifth  3 : 2  and  a  major  semitone  16 ;  15, 
and  may  also  consist  of  a  major  third  5 :  i  and  of  a  minor  fourth  1 : 3. 
The  major  sixth  5 :  S,  as  Sol  to  Wi,  is  composed  of  a  perfect  fifth  3 : 8 
and  a  minortone  10:9;  and  it  may  also  be  formed  by  a  fourth  4 ;  3 
andamajor  thirds  :4.  The  minor  seventh  16 : 9,  as  Sol  to  Fa,  may 
tie  composed  of  a  perfect  fifth  3 : 2  and-  a  diminished  minor  tbinl 


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HANUSCRIPT  WOtUL  OF  FRANCESCO  DIANCHI. 


67 


SSiSl,  or  ofa  diniinisbed fifth  40:37 anilapctfectinmortbiid6:5, 

40 : 27  6:5 

as  Rc  to  Do,  compose*!  of  Re  Ln  Do,  and  liie  minor  in- 
creased bj  a  comma  9:  5,  as  La  to  Sol,  consists  of  n  perfect  fifth  3:8 
and  a  minor  tliird  6 :  5,  Tlic  majur  sevoiitli  16 :  8,  as  Do  to  Si,  is 
composed  of  a  fifili  3 ;  2  and  a  major  lliicd  5 : 4,  (hat  is  (o  say  Do  J, 
Sol  >  Si. 

Proceeding  to  (he  cliromntic  inlcrvah,  flic  increased  second,  ini- 
pniperljr  called  snjierfluouB  is  composed  of  a  iiitgor  tone  10  :  3  and  of 
ft  minor  BCmitono  S3  to  Si,  and  is  fonnd  in  the  ratio  of  75 :  6i,  as  Pa 
toSol*.  The dimiiiiahcd  (hird  S56iSS5  Is  ibriacd  b;  two  mi^or 
semitones  16 1 15,  as  Sot*  to  Sib,  composed  of  SolSuLa-^J  Sik 
966      td  S35 

aod  its  complement  to  the  octavo  ^vra  (he  increased  sixth,  impropcr- 
Ij  called  superfluous,  in  the  ratio  of  335: 133,  ns  Si  b  to  Sol  %  com- 
posed of  a  fiflh  3 :  Sand  of  a  snperAuoiis  second  75 :  2i,  The  major 
or  increased  fifth  35  :  16,  as  Do  to  Sol  %  is  composed  of  two  major 
thirds  5  : 4,  and  of  a  fifth  3 :  S,  and  of  a  minor  scmitono  35  ;  24.  Tlic 
completion  of  this  fifth  lotlicoclnvc  gives  tlie  diminished  fourth  in  the 
ralioof.3i:25,asSol»  lo  Do,  composed  of  a  minor  thirdO  :Qanda 
major  scinilonc  IGi  15.  The  diminished  seventh  IS8:75,nsSo|Sto 
Fa,  nliich  is  the  completion  of  Ibo  iacicascd  second  to  Uie  oclave,  ta 
composed  of  three  thirds,  two  mioor  of  6 1 S  and  a  diminbttcd  minor 
as  to  27. 

There  are  two  other  chtomatic  ioterraU  mentioned  b;  authors — 
these  arc  the  iquumt  chromatic  Gftli  S6  :S5,iuSol*  to  Kc^  vhich  is 
increased  by  the  comma  81 : 80,  from  the  diatonic  minor  flnii  G4 : 45 ; 
u  Si  to  Fa,  and  the  ohromntic  m^r  fonrtli  SS :  18,  as  Re  to  Sol 
thecomplctionofthe  cliromatic.  fifth,  which  is  a  comma  less  than  the 
diatonic  fourth  45 :  S3,  as  Fa :  Si ;  but  as  these  two  intervals,  like  the 
great  semitone  37:35,  as  Do^  to  Re,  Iiavc  not  part  in  music,  it  is 
useless  to  speak  of  tliein  in  theory ;  and  althoitgh  it  be  true  that  the 
chromatic  scinitonc  35 :  2i,  siibtraclcd  from  the  major  tone  98,  leave* 
the  rcsiihic  27 : 35,  yet  it  ouglit  only  lo  be  considered  as  a  component, 
ill  the  same  manner  as  the  Pythagorean  and  modern  comma  and  the 
A potome  are  considered,  namely,  as  a  difference  of  ratio. 

It  here  seems  necessary  tu  mention  the  great  tone  of  the  Greoki; 
it  arises  from  (he  resonance  between  a  seventh  and  an  octave  of  the 
•tiing  iu  the  ratio  of  8  :  7,  as  Fab  ta  Sol,  whiciL  is  composed  of  two 

VOL,  III.  BO.  IX.  I 


58  MlllpgCItlPT  VORK  OP  FiUNCEECO  BUMCHI. 


major  temitones,  in  tbe  ratio  of  Ifi  :  U  and  16 :  15,  the  fbnn  of  the 
eaiil  great  lone.  If  from  this  tbc  major  tone  10:9bailbtrac(ed,tira 
enharmonic  semilone  36  :  35  of  the  Gtcoks  remains,  and  if  tbe  najor 
tone  9  :  8  be  subtracted,  (lie  residue  is  di  :  63,  scarcely  the  eighth 
purl  of  the  major  lone  or  the  mnjor  jcmilone  being  divided  into  four 
parts,  of  wliicli  64  : 63  h  tin;  Irast  pjiit. 

All  these  intervals  are  lliosc  poinlcil  out  by^ature  for  a  good  Iheorj, 
and  for  music  exccutcil  by  voices  or  moveable  instruments ;  but  thew 
lame  intervals  are  alw  altered  for  fixed  inatininenta,  in  order  to  fad- 
lilate  execution  thiougb  tbe  means  oftemperameRt. 


mSS  STEPHENS. 

E  most  striking  pbiinomenon  in  vocal  nTl,u  in  univmal  natutr, 
is  the  astontsliing  variety  to  1>c  found  in  the  employment  and  efTeels 
of  so  small  a  number  of  elements.  In  the  progress  of  our  publics' 
lion  nc  have  minutely  analyzed  the  characteristics  of  excellence  in 
five  of  tbe  greatest  and  most  gifted  female  singers  ibat  bave  ever 
existed ;  yet  it  is  most  extraordinary  Ibat  tbeir  atliibulca  have  not 
only  difti:rcii  in  dearer,  but  perhaps  we  ought  rather  to  say  that  we 
Iinvc  been  able  to  trace  fo  little  distinct  resemblance  in  the  results  of 
tbeir  ciimpniative  fxccllcnccs  as  might  almost  obliterate  belief  in  any 
principles  common  to  tliem  all — so  general,  so  minate,  and  so  beau- 
tiful are  the  designs  of  our  Creator  to  produce  endless  diversity 
fliFoagbout  all  his  works.  We  are  of  (hat  sect  of  rel^ions  pbiloso* 
phen,  it  ia  thus  seen,  yiho  delight  to  mark  the  band  of  Divine  Bene* 
Tolence,  who  love  to  find  "  sermons  in  stones  and  good  in  everj' 
thing."  But  it  is  a  fiict  in  science,  that  thote  modifications  lie  in 
the  faculties  and  in  the  organ^in  the  natural  endonments  of  man, 
not  in  tbe  artificial  regulations  to  which  be  submits  them.  The 
npliluiles  towards  one  peculiar  species  of  execution  in  expression  nre 
to  be  found  In  the  ieniibilily  and  in  the  voice,  The  first  may  be, 
and  indeed  is,  attracted  towards  certain  objects  by  circumstances 
ami  assodation^the  last  may  receive  vast  exaltation  of  its  origiaal 
^aiities  from  art  and  exercise ;  but  still  tbe  grand  distinclioDs  art 


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URB  RTEPBENS. 


from  nature.  We  might  challenge  the  most  acute  pcrceplioa,  pro- 
Tided  it  KSFB  combined  nith  a  due  poilian  of  judgment,  (o  point  out 
■ny  raKmblancra  amounting  to  absoluto  Bimilitude,  except  so  far  as 
direct  imitatfon  of  manner  may  be  occasionally  concerned,  hotween 
Haka,  Gatalani,  Bi  lcingtdh,  Mri.  Salmon, and  MisiGoubi  ; 
yet  each  of  tbeie  diitingubhed  singen  have  trod  prcciicly  in  the 
tame  patlii,  snng  the  very  same  airs,  and  have  stood  nearly  succes- 
■ifely  at  the  head  of  (lie  profession.  Williont  incurring  the 
impntation  of  any  invidious  comparison,  wc  must  admit  there  arc 
considerable  gradations  of  power  bctnccn  them  all,  confcning  a 
superior  and  graduated  clcvalion  as  relates  perhaps  to  every  one  of 
these  celcbra led  indiviJuali  :  hiil  Uiis  ia  iigt  llie  ilisliuction  we  are 
now  EoHciloiis  lo  point  u:il. — Inil  ue  lefer  to  mure  iiarficularly  h 
the  singular  variation  among  Iheni  all,  not  in  (he  degrees,  but  in  the 
manner  of  tbeir  Mverol  cxcellencei. 

We  aro  led  to  tiiiae  lemnrks  by  the  &ct,  that  the  aingct  whote 
eminent  talents  are  about  to  becwne  the  subject  of  particular  discns- 
lion,  (fanugb  posUning  very  fine  natural  eBdoffmenla^  and  Ibe  acqui' 
riliona  of  high  cultivation,  yet  appean  to  ns  to  stand  apart  from  all 
those  tie  have  before  had  occasion  to  analyze,  and  to  occupy  her  own 
region  more  obviously  and  definitely  than  any  of  the  re»t ;  for  it  is 
not  till  examination  beqins  (hat  (he  mind  of  the  abterver  avakens 
lo  the  discrtr  pane  ICS  wc  have  Just  remarked.  The  genemliz^on  by 
which  we  are  accus(omed  to  classify  singers  of  the  same  genus  very 
much  precludes  our  dividing  them  into  species,  yet  so  many  specific 
characteristics  appertain  lo  each,  that  every  individoel  may  almost 
justly  be  sud  lo  constitute  a  spedcs. 

A  philosophical  enquirer  into  the  sources  of  art  encounters  nothing 
M  difficnlt  as  the  impediments  opposed  to  the  discovery  of  tbe  causes 
of  these  diffisrenees  in  the  peiibrmance  of  the  artist.  Why,  villi  a 
vtuce  inferior  to  Catai-ani  in  fullnessf  richness,  and  volume,  with 
leas  laalily  of  ezccutign,  Ma  ha  should  yet  have  stood  proudly  pre- 
oninent  in  majesty  and  true  pathos — why  BiLLrHOToN,  with  sweet- 
ness and  compass,  and  all  (he  graces  of  facility,  should  have  seldom 
reached  the  heart  except  (hrnugh  (be  medium  of  amatory  esprcssLon 
—why  the  btilliancy,  beauty,  and  extreme  finish  of  Mrs.  Salmon's 
azid  Mrs*  CoBBi'e  voices  and  manner  should  still  stop  short  of  all 
tbe  Msential  characteristics  of  powerful  ezpresiioB,  seems  to  I>affl]e 
caqjecture,  except  we  can  find  tho  cBUsein  finwof  iptoUtot  sn^df- 


60 


licncy  of  feeling,  nnd  in  associations,  nhick  iostcad  of  conceotrating 
the  lensibUity,  and  rendering  itm  iicrcnption  of  (he  means  of  exprc»- 
sion  moic  inlenie,  linvc  served  (o  dLssi[)alc  the  attention,  and  weaken 
Ibe  natural  and  acquired  powers  lij  vnrjing  tlioir  objeeti. 

UiBS  Stepbbni  appears,  to  our  judgment,  to  ham  boon  kept 
lower  in  tho  acote  of  excellence  than  from  admitted  ppemnes  she 
DOght  to  hare  been,  ndmltfingos  we  ncrerlheleu  do  that  shehu 
reached  n  point  of  great  exaltation,  hy  some  unknown  ciicumstancei 
of  tliis  nature.  Iter  voice  is  iwverful  ond  rich  bejwid  most  otiien. 
So  Tast  indeed  Is  its  Tolunio  that  ws  remember  upon  one  occasion 
to  IwTO  lieard  her  dialincliy  IJirougli  a  irliolc  bnnil  of  chonissers  and 
the  orcliestra  in  ttie  opera  of  Figaro,  at  Covent  Garden,  tliougli  inler- 
ocpted  entirely  iroin  (he  audience  by  bolli.  Iler  taste  ia  pure  and  her 
general  manner  exceedingly  clioste.  Gmntlng  her  these  nllrilintes, 
wc  linvc  never  pcrlmps  licard  n  i^ingcr  who  moved  the  hi^h  alTections 
less,  yet  did  so  little  io  reprehend. 

'flic  first  nidimenls  of  instruction  Miss  Stephens  rercived  frnm 
Mr.  Lamza,  n  teacher,  nho  proceeded  upon  the  genuine  Italian  mo 
tliod  of  forming  the  voice;  lie  inilinlcd  the  pupil  very  slowly  Imt 
very  surely,  1TC  npprchcnd,  in  llie  ctemcnts.  Her  power  of  sustain- 
ing and  Iiei  intonationare  thcreliiro  botli  fixed.  Bntat  a  sabscqaent 
iwriod  itispnbablo  Iier  studies  were  conducted  witli  n  view  pnnd- 
pally  to  the  dnmialic  exerdse  ol  the  art,  and  a  deviation  from  the 
priociplei  ivliich  best  conduce  to  form  a  perfect  orchestra  siRger  were 
deserted  for  tho  practice  which  contributes  to  tho  ^brts  the  stags 
demands.  Hn.  Lanza's  process  of  tuitmn,  we  havo  remarked,  was 
by  no  means  rapid.  Miss  Stephens  remained  his  pupil  many 
years,  during  nhich  she  was  brought  out  at  the  Pantheon.  She  also 
made  a  professional  tour,  in  company  with  fonic  other  pupils  and 
their  master,  to  Bcigliton,  and  along  the  Coast ;  but  we  believe  site 
appeared  under  an  assumed  namcdnringlhiaescnraion.  The  father 
ofMiSB  S.  (who  was  a  carver  and  gilder,  in  Paric-strcet,  Grosrcnor- 
BquBre,>bad  reason  to  think  Mn.  Lanza's  attention  too  remiss,  both 
for  his  own  interest  and  for  those  of  his  pupil ;  Mn.  Welch  was 
applied  to,  who  saw  (he  promise,  and  exerted  himself  vigorously  to 
bring  Miss  Stephens  sufficienUy  forward  to  appear  before  the 
public  Hie  raado  ber  debut  at  Comat  Garden  Theatre,  wiUi 
briUiant  approbation.  Novertbden,  in  spits  of  (his  succcm,  we 
doubt  vbeUia:  tlie  winntli  of  ftdiog  and  feftility  of  imagioatioa 


MISS  STEPHENS. 


61 


nhicliare  indispensible  topetfect  dmraaCic  perforraBRCe  are  inherent 
in  Miss  ijTBPUBNs's  nature.  It  istlms  probably  thai  her  taleiit  was 
miidirected.  In  this  particular  there  is  a  ver^-  ciirioua  dilTerencc  be- 
tween Utc  Italian  ecIiooI  ofsingtng  and  t\to  English.  We  exactly  re- 
Toise  their  oriler.  To  Irnin  a  singer  for  Uie  serious  opera  is  tocoiirt 
the  highest  iiUri butt's  oCdie  nrl.  Siicli  a  code  of  iustruclion  appears 
by  the  iiniversnl  |Hiircrs  of  almost  every  legitimate  Prima  Donna, 
la  include  the  qualities  of  an  actress  as  veil  oa  the  higliest  cultivation 
of  the  vocal  i^uititeti  The  first  vonutD  of  thaopetamuitunder- 
alaatl  tlic  full  value  of  applying  dramatic  e^ct  to  tlie  vocal  expres- 
sion of  the  passions.  Our  singen,  on  the  contrary,  ivho  are  trnincd 
for  (he  stage,  consider  only  one  bmnch  of  tlic  profession.  If  iliey 
rocaluco  well,  it  is,  they  think,  snOlcient;  and  they  seldom  care  to 
rememhfr  (bat  singers  ithn  nspirc  to  move  llic  affections  of  tbcic 
hearers  must  accomplish  Uicir  end  very  much  by  means  wliich  are 
common  to  acting  a<  well  as  singing — in  sliorl,  by  drnnialic  force, 
dinniatic  lire,  dramalic  feeling,  dninintic  elocution — and  all  these 
re&ued  by  the  highest  cultivation,  science,  and  pnllsli  of  vocat 
superiority.  If  we  were  asked  to  account  for  tbe  jdnioil  universal 
failure  of  ^nr  Engikh  singers,  comparatively  nith  foreigners  of 
eminence,  with  Maba  and  Catalami  Ibr  itufance,  we  should  say 
that  irora  BiLLiiioTov  to  tlie  accom^islMd  sulgect  of  the  present 
mmoirj  the  deficiency  arose  from  Hie  want  of  that  animation  and 
Interat,  Hut  power  over  the  aifectioRB,  wfaicb  the  combination  of 
dramatic  with  timrioat  edacation  had  given  to  those  sovereigns  of 
m^jeatio  and  general  expression.  Those  great  mistresses  of  ait  seraned 
to  t»,  and  they  wer^  moved  themsehes  by  Ibe  chatacfers  they  sns* 
tained  and  by  (he  compositions  Ihey  sang  :* — they  personified  even 
an  oGoaslonal  orchestral  air.   Hara,  when  she  sung  FareweB,ye 

*  It  niaj  perhaps  be  objected  against  this  hj^othoda  that  BiHiLINcton  and 
Mas  Stefuens  were  brought  up  to  the  stage.  Hot  after  all,  what  it  the  Eng- 
lish Opera?  A  jargon  of  speaking  anri  singing,  (hat  depresMs  all  seiuibilily 
ralher  tlian  elerites  the  iiilud  to  any  ]ierceplion  of  the  force  of  character  or  tbe 
kliiiUing  of  SL-iitiiiient.  Tlie  Halinii  Upera,  oh  tlic  contrary,  presents  a  rising 
suries  of  emoliDns  from  simple  rccilntivc  to  the  most  impassioned  aria,  and  the 
whole  train  of  muscal  feeling  goes  on  from  the  lint  note.  Music,  it  is  under- 
stood, is  to  be  the  vehicle  uf  passion.  The  iusipid  or  farcical  dialogue  of  our 
Upcras,  on  the  contrarj',  is  conthiaally  chilling  the  soul,  and  the  tnercary  ofthe 
coostitiition  is  brooght  still  lower  by  out  absurd  notiou  that  la  accompBih  afaig- 
isig  and  acting  Is  too  mnch  to  be  expected  from  one  perfonaer.  ^or  a  mote 
complete  deielopeoieat  of  these  principles  and  objections  we  refer  the  reader  to 
our  late  review  of  the  Gnnedy  of  Errors—page  347,  vol.  3. 


Uit^id  iprmgi,"  became  the  devoted  daugliier  of  JephUia  for  the 
time,  and  Cat*i,a»i,  while girfng  Pdoitia's  "VmrnanxntunOa," 
was  during  the  song  the  unhappy  Tictin  of  cnielty  and.  lore.  Not 
so  oar  English  singers.  There  is  a  coldaeu  of  conception  wbicli 
derognles  from  IFie  effect  of  all  they  do.  "  There,"  said  a  man 
of  eccentric  but  strong  feeling  and  admirable  musical  judgment, 
concerning  a  female  singer  of  eminence  (in  justice  howctet  to  Mm 
STEnietrs  not  concerning  berj,  "  Ihere  sl.c  stands,  as  insipid  as  a 
boilal  pig,  whether  singing  /  hwm  IkU  mj/  Redeemer  livelh,  or  aa 
Italian  braiura." 

MisB  SrBPUENs's  imagination,  if  originalljr  susceptible  of  the 
fiery  impulses  to  which  it  is  essential  to  train  llie  conception  of  one 
■who  is  to  pourtray  by  regulated  tones  the  workings  of  all  the  pas- 
sions, hat  been  cooled  r^er  tbaa  heated  in  the  tempering  j  and 
whether  ibesinga  upon  the  boards  of  the  thisUre  or  in  Iheorcheatra, 
ber  whole  perTormatiee  appears  to  na  snbdned  lomewfaat  bdow  Ibe 
point  necessary  to  fine  expretaioD. 

The  quality  of  her  tone  is  full  and  rich  b^ond  that  of  any  per- 
former now  before  the  town.  We  hare  heard  one  eAxedingly  fine 
professional  singer  and  a  female,  gire  Miss  StsPHBifs's  tona  the 
prcfireiice  above  ail  others;  but  to  oureare  it  hcks  the  exqniiite 
purity  nud  touching  brilliancy  of  Mas.  Salmon's  roice.  Tboeare 
particular  compositions  in  which  volume  is  required— such  as  "Bul 
brigfa  Cecilia,"  where  the  fnllness  of  Miss  Stephens's  tone  bestows 
a  surpassing  power  an.l  dl«l.  IKr,;  she  is  great— but  in  songs  of 
touching  expression  s.Ik  sccnis  to  lis  U,  want  the  lentTcrness,  the  liquid 
sweetness,  that  steals  tlic  aecisc  awny  in  passages  of  pathos  and  pas- 
sionate exlacy. 

From  this  projicrfy  of  her  tone,  from  what  it  wants  as  well  as  from 
what  it  possesses,  nc  infer  the  peculiar  bent  of  her  talent  towards 
ballads  aud  songs  of  simple  declamation— in  a  word,  towards  that 
particular  style  wliicb  u  generally  esleemcd  to  be  purely  English, 
though  the  foimaUon  of  the  voice  may  (indeed  it  must,  for  there  are 
no  other)  have  been  conducted  upon  thcprincipba  of  Italian  leach- 
ing. Here  Miss  Stephens  stands  almost  alone  (exalted  above  Miss 
Travis  rather  by  superiority  of  natural  endowments  than  of  instita- 
tion),  and  at  present  certainly  unrivalled. 

It  it  impossible  for  any  thing  to  be  more  pnre,  more  chaste  than 
the  simplicity  with  which  Mist  STBPaxHi  giretnich  songi  u  ".inW 


HUB  tTRPHBtS.  63 

JBgfin  6m]/"  moi  ibeie  m  not  iridunit  a  cul  of  pathos,  as  vrell  u 
bet  AHgalt  eeer  bright  aad Jim;  md  IHoui  Orgkt  of  Hawsbim  But 

tibi,}  (he  appearance  of  Bnchseiiubilitjr  and  suffering  ai  b  ncceaarjio 
GODititute  that  almost  indescrib.ible  concenlr»lion  of  attributca  which 
we  call  expression.  Da.  Adah  Suitei  remarks  somesrhetc  in  bia 
Treatise  on  Moral  Sentiments,  that  in  onlcr  to  move  the  affections  of 
others,  in  order  to  make  audiences  suHbr,  Ihc  actor  liitascif  must  seem 
to  tic  in  some  pain.  Wc  arc  never  more  alive  to  Ibc  trulti  of  Itiis  re- 
mark than  in  hearing  Miss  SrEPEtENS,  wtio  seems  (o  pour  licr  notes 
with  such  ease,  such  fullness,  and  siicli  unvarying  richness,  tliat  it  ls 
quite  impossible  to  imagine  iier  labouring  under  tlic  distresses  she  is 
endeavouring  to  pouKray.  Even  the  cQucts  of  lier  full  and  fine  cres- 
cendo and  dying  fall  are  lost,  and  it  is  by  them  that  the  workings  of 
paaion  or  the  sinkings  of  the  soul  are  pictured.  Miaa  STEPiiBNt  is 
nevei  goUty  of  any  extravagance  in  art.    Oadus  is  certainly  excess. 

The  chastity  of  h?c  style,  and  the  limitationi  ahe  thut  lays  npon 
hei  bBBjt  confine  onr  eitunatian  of  Miu  Sispheki'i  science  to 
what  ahe  abitaiiii  from,  lather  than  aUow  ui  to  meaaore  it  by  what 
■be  affcnrdi  or  introduces.  Her  onuuncnU  ore  correct  and  pleasing, 
but  seldom  far-sought  or  surprizing.  Uerexccalion  is  easy,  but  nctret 
distingaished  for  force,  brilliancy,  or  (hat  particular  neatness  and 
extreme  finish  which  belong  to  the  passages  and  riffioramenliof  Mai. 
Salmon  and  Miss  Cobri,  while  there  is  little  of  the  coarseness 
of  Ibe  stage  to  be  discovered. — From  this  Miss  Stephens  seems  to 
Iiave  escaped,  and  though  in  the  tlieulre  slie  eiecules  with  more  free- 
dom ami  less  care,  in  the  orchcsiro  she  has  the  poiver  to  finish  highly, 
if  not  with  the  minute  polish  and  exquisite  luuclii's  iif  her  two  prin. 
cipal  competitors. 

There  results  then  from  the  whole  of  Miss  Stephens's  performance 
a  certain  grateful  sense  of  pleastire,  somewhat  annlc^ous  to  the  sensa- 
tions experienced  and  the  scotimcnta  inspired  by  the  conversation  of 
a  polished,  sensible,and  well-bred  person.  But  (hefeeling  seldom  rises 
to  delight,  and  neiec  to  thoce  thriiitng  raptures  which  are  BOmetinies 
ftit  from  the  oomUned  chann  of  poetry  and  sound,  when  the  heart 
meUa  and  the  cyei  overflow.  To  kindle  such  emotioni  (wc  tremble 
while  we  write,  leit  (be  fate  of  Ocphens  should  awul  ns,)  we  arc 
weUotgh  peniuded  belonga  almost  exclusively  to  the  fitrvonofltalian 
genitu,  and  to  tcA  not  only  the  lore  of  poetry  but  the  poetry  of 


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04 


HtSB  STEPHEN!!. 


love,  is  necessary  vie  suspect  to  their  complete  developenMat.  We 
bsm  cert^nl;  been  bj  a  few  of  oar  fineit  Kngllih  ietiMt  TooUiati 
occasionally  Tabed  to  the  my  eztacy  of  lense ;  bit  thiar  excdlence 
conttifntes  the  exception  and  ettaUnbei  the  rule.  Is  it  natnre,  -it 
it  art,  or  Is  it  both?  Is  it  the  femperament  or  the  education  of  oar 
vomen  ?  Bar&t  and  Mrs.  Cibbbr  ate  said  hj  Aaros  Hibt.  ta 
have  played  the  parts  of  Romeo  and  Juliet  better  than  any  othet 
actors,  bccRiise  tliey  felt  willi  marc  delicacy  and  inlcnsily  tlic  passion 
of  love.  We  suspect  tliat  tlic  iinagirintion  of  onr  singers  is  not  saf- 
ficiently  warmed  in  tlie  prosrcssof  tiieir  musical edncation — nn  ef&ct 
produceJ  among  tlic  Italians  by  the  commixture  of  dmmntic  fire  and 
fL'clini^.  Pcrlinps  iiidcwl  ^Yc  can  hardly  doubt  that  we  do  wisely,  so 
far  aa  Iin|i|iinc5i  and  tlic  IicBtt  arc  concerned— "but  we  as  little  hetri- 
tate  lo  IkUcvc  tijat  art,  execution,  and  effect  are  something  chilled 
by  flic  (oo  austere  application  of  what  we  nevertheless  hope  and  trust 
ivill  long  contiituc  a  national  distinction. 

With  tlicsc  attributes  and  this  one  drawback,  Hiss  Stephehi  en- 
joys her  full  share  of  public  patronage;  and  her  title  to  tile  legmA 
■be  earns  so  industriously  and  so  honorably  is  inppof  led  liy  a  purity 
of  mind  and  character  correspondent  to  her  professional  manner.  It 
always  gratifies  us  sapreraely  to  connect  and  to  point  out  the  moml 
perfections  of  private  worth  and  estimation  with  public  ability,  not  w 
much  because  there  arc  n  ti;w  instances  to  sully  the  repntation  of  the 
musical  prnrcssion,  but  because  tliose  examples  are  frequently  most 
invidiously  quoted  and  hut  'oo  !,'en<T:i)ly  rested  upon,  to  the  establish- 
ment of  a  line  of  demarcation  iKlikccn  public  and  private  life,  most 
injurious  to  the  former  and  not  perliaps  without  imposing  painful  re- 
straints and  privations  upon  the  latter.  Sucli  characters  as  Miss 
Stephens  prove  sulTiciently  that  the  public  exercise  of  talent  is  not 
incompatible  with  the  grace,  the  ornament,  and  all  the  virtues  of 
domestic  life. 


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«5 


THE  CITY,  CONCERTS, 

fsBKi  11  no  oimuulftnot  more  gralifjing  aiUier  lo  the  man  of 
tuls  at  tb«  Ritwi,  than  to  obtem  the  Arli  making  their  punge  Rtid 
esUtlulung  theraielvet  in  new  regioin— for  moh  phenomena  not 
onlj  aRDOuncs  the  augment atiun  of  tlie  vealth  of  iho  couatry  but  the 
maick  of  civilization.  It  is  therefore  with  ■ingularsntisfacllon  tlial  ne 
notice  the  instilulion  of  a  concert  in  tlie  ti(y,  wliicli  may  vie  wilh  the 
first  eslabliahments  of  the  itiniJ  al  llio  i)[Iilt  t-ml  ul'llii:  town.  Fusliion, 
the  most  arbitrary  dcii|>ol  iliat  evvt  tin:  »i-r  the  uc-nk  In  tlic 
chain  of  «iliing  WiiiHgp,  lias  luji^'cslablUiL'd  licr  llironu  in  llii.- West, 
sniJ  tile  nuiiiUera  of  licr  slaves  liavc  heon  luit  a  lillk'  iiicrt'iiMil  \>y  the 
stiviiily  tt  itli  wliich  some  ii,-|iir:iii1s  fniin  llu'  East  li:ivc  siiiigiil  lo  sink 
llie  piiiauits  of  tlie  morning  in  llie  aocietj  of  tlio  evening — thus  seal- 
ing ilie  title  lo  empire  aiMimed  by  the  Weat  End,  by  Gonfonning  to 
Ifae  rule  or  to  the  prrjutlice.  We  are  not  nrnong  those  -who  delight 
to  tiicak  evU  of  digniliei.  On  tbe  contrary,  ve  lors  to  lee  rank 
<of  whatenr  kind  it  be)  supported  by  chaiacter.  We  coaM 
nef er  be  brought  to  Httdarftand  why  the  solid  i^uloice  of  bade 
•hoiikl  not  admit  the  aBBa  opportonitiro  fbr  Intellcctaal  culliva- 
lion  (the  fbtmerofnannera),  a«  tlic  condition  of  tlie  man  of  landed 
property  ortrf'tbe  (bllower  of  tlie  court.  It  will  scarcely  be  main- 
tained that  tbe  one  Is  not  as  susceptible  ofthe  beauties  nnd  ns  cnpa- 
ble  uf  the  acquirements  of  science  as  the  other  ;  if  the  time  of  the 
fornii'r  he  abridged  by  actual  bnsinesg-occupalion,  the  leis^irc:  of  the 
latter  is  not  less  consumed  in  the  frivolities  and  (he  ceremonious  duties 
inckle^it  to  their  situnlion — as  little  or  even  less  productive  of  ijitd- 
lpct\i!il  advancement.  Everj-  step  therefore  in  the  rapid  progie.s.-ion 
which  has  for  the  last  few  years  been  going  on  tonards  ihcprecli[jn  of 
the  mercantile  classes  into  an  order  distinguished  by  mental  atlain- 
menli  h  well  as  by  tbe  acqtiisitioa  <tf  mamt,  has  seemed  in  our  esti- 
mate of  things  to  add  to  (he  nspeolabilily  as  well  as  the  strength  of 
the  country,  CoavlnoedthenM  we  are  thai  wherever  opulence  allies 
itself  to  art,  the  happiness  aa  well  as  the  estimation  of  the  possessors 
at  the  one  and  of  the  professors  of  the  other  will  he  angmenlei,  we  re* 
joioeto  aee  Mask  springihtathevery  midst  of  the  city,  and  "atone 

VOL.  Ill'  KO.  IX.  K 


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THE  cm  CONCERTS. 


brave  bound"  establish  all  its  perrections,  udiIct  tbe  KDspicea  of  tat 
almost  eolirely  new  class  of  proleclors. 

The  rapid,  not  to  say  immediate  malurltr  bowern  of  tucb  am 
iaitUuiIoDi  proves  lhat  the  seeds  of  fasle  bad  been  mhtd  aad  car» 
full/  cherisbed.  Accordingly  ve  find  tbat  lo  the  aciemie  and  th* 
exertions  of  a  comparativel;  small  nnmber  of  penoiu^  the  manjr  are 
indebleil  for  the  persevering  eflbrts  which  inlrodoccd  tmd  confirmed 
the  empire  of  our  art  in  Ihe  Cilj.  It  seems  that,  although  a  consi* 
sidernble  number  of  nmiiteitr  |)crfurmers  and  a  far  greater  number 
of  admirers  uf  miii^ic  tisiik'd  there,  yet  for  mnny  years  it  nni 
deemed  an  uii profit ulilc  siirciilntion  to  altempt  the  estnblisliniciit  of 
regular  concerts.  It  i^  tnictlicri-  ivas  n  pnrly  wim  met  f,.r  aon.R  yenri 
at  the  Kind's  Arms,  C^nnliill,  .-iiii!  Mjli^cqucntly  nt  Ihe  Paul's  Ili'.-id  ; 
andanuUicr  upon  n  lar;icrsr;i!(',  wliicli  as.^cmbk'd  [liiriug  scvrral  sea- 
sons in  the  great  room  of  [he  Citv  f>l  l.ondnit  'I'iivi'rn  :  but  the  former 
was  too  inconsidcriiblc  to  atlrFict  [iiililic  :itii niiim,  and  ihdattcr  was  a 
■Biztureof  musiC)  dnncing,  ntid  card-playing,  and  Iherefoie  scarcelj' 
coming  under  Ihe  proper  denomination  of  a  concert. 

The  growing  taste  for  mnsic,  thus  encooTtiged,  waa  incnosed  b; 
a  considerable  number  of  tbe  city  amateurs  becoming  subscribera  to 
the  concerts  at  Hanover<K|uate,  where  perbapi  they  were  not  at-  ■ 
ttacted  by  the  perfuroianeea  alone,  but  also  by  the  admixture  of  tbe 
society  of  the  West.  As  however  tbe  primary  regard  for  amuse- 
ment seems  III  liavc  strengthened  into  a  real  love  of  science,  and  as 
both  produced  a  more  inliniiile  acquBinlance  with  Ihe  splendid 
cfieclii  of  (he  German  Hchool  of  instrumental  c;[Cellcnce,  n  desire  lo 
found  an  institution  of  their  own,  which  might'  at  once  embrace  the 
lighter  varii'tics  of  vocal  execution,  and  unite  all  the  perfccliou  of 
modern  insl.ninicntnl  discnrcrics  and  attainments  in  a  conc<Tl  under 
City  patronage.  The  object  was  in  every  sense  worthy  of  encou- 
ragement. 

A  gentleman  of  considerable  musical  knowledge  deemed  tbe 
moment  at  length  arrived  when  such  a  concert  might  be  estafaUtbed 
Bast  of  Temple  Bar,  which  migbt  rival  the  best  of  thoM  established 
at  the  West  £hd  of  the  Town.  Heaecoidii^ly  Bonndedafewof  his 
Aiends  upon  the  anfaiect,  who  &11  promptly  and  warmly  into  bu  plan. 
Appllcatlan  wai  aitbaequently  made  to  eeveiat  geatiemen  of  inflnence 
in  Uiedlyto  fonnaconumitteolbioanyiDgitintoBisautinn,  but  ■» 
rnanj  obitaclea  wen  Umwn  in  tbe  w»y,  tbat  it  WM  Huudfeit  tbo  d»> 


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THB  CITT  CONCERTI,  67 

sign  would  enlirelj  Tall  to  the  ground  unless  it  was  non  underlaken 
bj  men  tvliote  snnEiiine  expectiilinns  nf  success  n  nil  Id  ovrirlcHp  all 
pti'liminarv  inijii'dimenli.  Six  friends  of  the  projector  were  therefore 
iminediBtoly  formed  info  a  cotDmiItec,n  prospectus  was  issued,  books 
ofBubtcriplion  were  opened,  and  on  IheSlb  of  July,  1S18,  the  tint 
eoBcert  look  place.  An  admirable  orchestra  had  been  engaged^ 
•ingcn  and  instrumental  perforinen  of  the  first  eminence  bad  been  se- 
cured, and  a  full  and  most  mpectable  audience  nas  grnlilied  bcj  nnd 
expectation  with  the  best  conixTt  nlilcb  had  ever  grnccd  the  t^ify. 
The  subsequent  perfornuinces  nugraenled  tbe  BatisfBclion  wliieli  had 
been  produced  by  Ihe  fir-'t,  nnd  tlie  mnnagen  were  not  oiilj>  higiily 
cDm[)lLmi'iit(.il  by  tliu  subscribers  but  received  Ihli  Toluntarj  pane- 
O'ticsoft'ic  public  jiMrnats  fur  the  able  and  spirited  manner  in  which 
llie  i-O'iccrls  luiil  l.i-tri  cunilucl.'il. 

In  lilt;  MK-aii  lime  iher.:  is  Miiiie  rtMsoii  U>  believe  llial  lliecllbrls 
Itms  succo,stully  biougl.l  l„  -.x  eliu,a:<  w.t.;  rvg.nled  ivilh  h  ftdii.g 

amongst  llmsc  exniled  by  liUe,  llioiigli  in  IliU  cma  exercised  by  an 
aristocrtey  of  a  snbnidiiiale  rank  aiid  Kpi'cics. — Tlierc  wcic  Some 
good  citizens,  ivltuse  k\eas,  linwever  bifly,  bad  scarcely  it  is  to  Iw 
feared  readied  tliat  point  of  intelligence  which  teaches  lliat  it  is  the 
ezdniive  privilege  of  the  fine  arts  to  pat  aside 'all  poity  and  local 
distinctions,  and  to  bear  rai'n's  minds  to  the  ancontrouled  enjoyment 
of  those  dc'Iiifhls  nliich  neilh<  r  [iriics  nor  puwcr  can  bestow. 

in  the  munlli  of  April,  bcfure  tlic  last  concert  for  tlic  season  wa* 
given,  a  prospectus  for  anolber  ccmcurl  was  imluslriously  circulated, 
eshibitiiig  a  formiiLiblc  IM  of  Iwi^nly  Directors.  Tlie  raiilive  for 
thLtiMiiv  (;i[<:iiLiiii>ii  n:i<  iiiiiiiiii'.si;  iiir  iiad  nut  llit^oppusilioii  bi'i^iin 
bcfuri:  nil'  uiiieerls  wi<rr  ciiiictiiih^il.  siicli  was  (lie  universal  snlisliic- 
tiun  ^vlilLb  lljcy  iiail  given,  it  is  certain  the  Hit  of  subscribers  fur  tlic 
rul!<^wiM<;  ai^aMw  wuiild  have  been  immediately  filled. 

Every  one  knows  how  easily  the  bolk  of  mankind  arc  led  by  arti- 
ficial distinctions,  in  wliattsver  class  of  society  they  arc  found — 
many  satisfied  an  imaginary  importance  by  joining  a  society  whicfi 
demanded  for  itself  a  a  exclusive  superiority,  and  many  nithdmr  their 
names  from  the  original  associBtion,  lest  tbeysboold  becoDsIdend- 
M  of  an  inferior  ordn^Tfae  gentlemen  IheieTore  nho  had  takes 
sacb  meritoriDOBimins  to  ori^^nale  and  matue  a  really  cxceUent  con- 
cut  in  the  City  vaie  Uft  vitb  a  barren  liit  of  wbtciUMn. 

ft8 


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THE  CITY  CONCERTS. 


We  do  not  mean  by  (his  statement  at  all  to  derogate  from  the 
merit  whicli  faai  been  duplajted  ia  the  conduct  of  the  CSiy  Oinant 
u  it  now  exiiti.  We  relate  the  facts.  Nor  are  we  dttposed  tn  admit 
that  it  at  (dl  mrpasMs  tbat  which  h»  been  put  dovrn ;  on  the  CM* 
tiary,  we  believe  we  speak  with  the  consent  of  (he  greater  nnmbei  of 
those  who  hare  viiited  both,  when  we  say  that  the  finmer  tad  at 
least  as  maoh  variety  and  vivacity  i  and  whilst  it  embraced  the  chef 
d'iBUVKs  of  the  great  conllnentat  masters,  it  did  nof  nulode  (he  pVo* 
dncticms  of  Hstive  taleiA.  Id  oar  lecord  we  are  chiefly  ■ollcitons  (o 
^gin  the  honoHrdiie'*'to  all  who  have  been  or  are  concerned  fn  the 
institution  of  so  excellent  a  design. 

Having  (bus  drawn  a  brief  sketch  of  the  rise  of  (he  City  Conoertl, 
wc  ehall  proceed  to  narrate  the  general  scheme  of  its  arrangcracnti, 
and  the  preparations  for  the  coining  season. 

In  the  Sketch  of  Music  in  London,  which  tertninalpd  our  Ttli 
Number,*  we  briefly  drew  the  outlines  of  the  general  plan,  «liii;lL  nc 
here  repeat  and  enlarge.  The  entire  raanagemcnt  is  entrusted  to  a 
Committee  of  twenty  gentlemen,  ten  of  whom  are  entilk'il  (lie  Musi- 
cal CommiCIee.  They  were  last  season  as  follows,  and  believe 
the  direction  remains  (hesaraa  during  the  ensuing  year.  At  (heheful 
of  a  list  of  SOO  subscribers,  incloding  raostof  the  principal  merchants 
and  their  fainOiet,  stands  Um  name  of  his  ftoyal  Highness  the  Dvkk 

SnasBX.  One  of  the  Committee  appnn Is  the  music  for  the  night, 
and  five  IMiecton  are  chosen  in  rotation  for  each  concert.  As  a 
specimen  of  the  sdedions,  we  transcribe  th«  programme  of  the  first 
bill  of  Ust  season. 

First  CtmceH,  DecenberlBlh,  1S19. 
I>frerforr.— Mr.  A.  J.  Doxat,  Mr.  J.  B.  Heath,  Mr.  W.  May, 
Mr.  W.  Sikes.-  The  Music  selected  by  Mr.  J.  B.  Heath. 

PAKT  I. 

Grand  Military  Symphony  -    -   -   -   -   -    -    -    -  -  Haydn, 

Terzetto,  Messrs- Welch,  BnAiiAK,  and  SrgnorANOKtsAni, 

"LaSolitudine"  Attaoood. 

AHft,  MiSH  M.  Teee,  "  Non  pi4  di  fieri," 

'darioiKitiAl^gl^Mr.  WiLLHAK  -  -  fT&oJ       -  JRWrf. 

•  Vd.4,  pige3B4. 


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THE  Cnr  CONCERTS. 


Duetto,  Les  Oemoisplies  De  Luiu,  "  Eben  per  m 

C La  Gotta  Ludrii.)  -    -  Sotrii^ 

Septetio— Violin,  Mr.  Lodeh— Viola,  Mr.  R.  Ashley— 
Violoncf-llo,  Mr.  Lindi.ey— Bass, Mr.  Ukagombtti— 
Cl:irioii.-l,  Mr.  Wi m.h A N— Bassix.n,  Mr,  HoLUBa— 
Horn,  Mr.  An.vDi.i  Bettbtxen. 

Aria,  Mr  Braiiam,  "  Pria  clic  spmili," 

(It  Matrimonio  Segrelo.)  -   -   -  Gmarota. 

Fiaale  to  the  Pint  Act  of  //  Don  Giovanni   -   -  .  .  .  JUotart. 
PART  II. 

Grand  Sinfonia,  in  C  minor  Berlhoreii. 
Duetto,  IjCS  Di  moiaclles  De  Liiiir,  "  Vedctlo  sol  bramo," 

(Gritelda.)  Paer. 

Itccit.  cd  Aria,  Miss  GoonAtr,,  "  InkMtx  scoiisolafa," 

(II  Fiauto  Magico.)   JHoxart. 

Terietto,  hct  Demoiselles  De  Lihc  ani]  Signor  Ambhoqbtti, 

*<  Si  diri  obc  siete  un  orao,"  -  -  -  (Agnese.)  -  -  -  Poor. 
Soottaf  ammged  hy  Kramer,  witlt  Orcbeslrat  Accompani- 

nKDls  and  Seqaao  cJiligBto,  Hr.  Amdba,  of  bis  Roj-a1 

Higbnei*  the  Prince  Rq^t'a  Band      ......  CordJi, 

Smiib,  Signor  Ambbogbtti    .........  Gnecco. 

In  imitation     a  fanatical  Compam  giring  Diifctions  to 

an  OrchertiB  on  Hie  firal  Beheanal  of  hu  new  Composi- 

lion. 

Omtanio ZaabtrfioU  -   Mnart. 

Leader^  Mr.  Loda-.—'-CoiubicIa',  Sir  George  Smart. 
The  band  is  niuneroiu  and  chuea  with  particnbr  cai^  principally 
fmn  the  members  of  the  PbilhanDonic.  Sixteen  amateuTs  atsist, 
and  (bey  ate  placed  at  Tarious  stands,  each  with  a  professor.  Thej 
■nbmit  to  yeiy  strict  regnlalions  respecting  attendance  at  rcliearsals, 
and  change  their  Bituations,  in  order  that  all  appearance  or  preference 
ma;  be  avoided.  Atler  the  task  of  selection,  the  entire  direction  of 
the  oichesln  i«sidea  with  Sia  Gsobgb  Siubt,  to  whose  well-eamed 
lepntation  Uie  condact  of  these  concerts  has'  added  a  fntther  pnise^ 

Agai^  Mr.  A.  D.  L.      Bell  Mr.  William  Glyn  Mr.  George  Csrr 

AleHjn  Mr.  James  Caienote  Mr.  James jaa.  Hanson  Mr.  J.  O. 
&CD&  Mr.  Hantlef        Dozat  Mr.  AleiiB  Jama  HeafliUr.J.B. 


70 


Ijon  Hr.  Charie*  John  Priw  Sir  Charle*  Bazt  StkM  Hr.  WBHm 
Mutermaii  Mr.  Tbomu  Rougemont  Mr.  Fniucb  SotI;  Mr.  Thoniu 
i/ltj  Mr.  WillUm  Scbneidcr  Mr.  John  StephcitMnMr.Elowluid 

Townslicnd  Mr.  Fruicis       Wilson  Thomu,  M.  P. 

The  conccrls  of  liie  ensuing  season  will  take  place  a(  l!ic  City  of 
LonJctn  Tavin,  and  are  fixeil  for  Dec  21,  Jan.  II  anil  95,  Feb.  B 
aiiU  sa,  ariii  March  15.  Messrs.  Si'agnoletti  nriij  Moni  are 
appointcJ  alternate  leaders,  and  Mas.  Salmon,  Madame  Caufc- 
BBiB,  MtBi  OoosAivi.,  and  M.  BBaasz,  bad  been  engaged  wbea 
ttiu  aiticle.waa  written ;  the  Directoia  being  then  in  treat;  with  athir 
eiuinent  protereors. 

We  have  thus  added  to  onr  reMrdsofthe  fineil  ettabUihmenti 
tbe  performBDce  of  mnaio  in  Ibis  country — to  the  Antlentand  Tocal 
Concerts  and  to  the  Pbilhannonic,  a  jiut  relation  of  the  rise  of  Thb 
Ahateub.  Goncekt  of  the  City  of  London;  and  we  cannot  con- 
clude without  expressing  a  hope  that  the  obscuration  with  which 
the  early  division  menaced  its  origin  is  entirely  cleared  away,  and 
that  the  amily  of  the  conductors,  the  perfection  of  the  band,  and  the 
patronage  of  the  aneatiflc,  may  cement  the  contract  between  a£la> 
ence  and  art,  and  Mcureiti  fermahbiit  xhdukahcb. 


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71 


An  Addmi  to  the  PMfhanaomc  Sodely  on  thefoHoatng  tubje^i; 
I.  On  Mutical  Education^ — 8.  On  the  general  slate  of  Musical 
Taste  and  Knowledge  in  this  Country.— S.  On  the  Study  of  Music  m 
Scare. — 4.  On  a  work  now  in  the  course  of  publication,  entitled  Vocal 
Sonatinas,  S[C>  and  on  a  system  of  Education  connected  with  thai 
piAliaition;  ta  wMek  k  pr^xed  a  Proem,  expUutatory  of  Ike  Ad- 
dress, By  T.  D.  WoTgan,  Prafi»Bor  of  Music.  Ii<radon.  Wibon. 

This  nork  procKila  from  no  commoa  mind.  There  is  a  depth  of 
liiouelit,  illuslrated  with  a  firmnenand  lemper  which  indicates  slrony 
cliaracler.  The  ohject  of  tlie  verba]  illuslialion  of  the  musical  com- 
pcBitjoDS  alluded  to  is  to  coadense  a  Mries  of  inslruclioiu  into  a  ay»- 
ico),  iiavingror  its  object  the  restoration  of  the  wholeM me  taste  fiir 
simple  and  beautiful  melody  combined  with  rich  harmony  rattier  a> 
an  alternative  to  than  as  a  substitute  for  the  present  rt^  for  estiema 
eiecutioo,  andthisHK,  WoBSAit  pK)po«e«(as&r  uliehatbitEierto 
gaoe)  to  accomplish  by  making  the  rounds,  cntches,  and  other  short 
piecd  of  old  masters,  the  models,  and  indeed  llic  basis  ui  li'is  super- 
kirucluic  of  accumpnu intent  and  various  adaj)latio[i 

There  are  some  very  ijcrtinenl  remarks  in  the  aiiilrfss,  from  those 
which  illubtrale  IhediiTcrciice  between  the  ta^ti;  of  the  pi-utL'svor  and 
theamiilcur.  We  extract  the  foUuwiiig  seiiloiiccs,  ivliii:h  we  think 
must "  draw  blood." 

"Every  master,  zealoua  for  the  ailvanrement  of  liis  art,  would 
wish  to  illiiiuiiiali;  ii  pupil  of  r:ili;!il,  su  its  lit  in.ikc  h;T  (istc,  as 

tiie  narrow,  raercRriarj',  and  niislakcn  [niticy  of  kti'|  ic^  Ins  pupils 
in  perpetual  darkness,  and  humouring  their  taste  for  (he  ili'>gus(ing 
trash,  from  which  bellies  for  relief  to  classical  res  lo  rati  vi-s.  Yet  I 
would  ask  any  musician,  alive  to  the  enjoyment  of  classical  excel- 
lence, if  at  present  be  is  accastomed  to  recreate  faimself  with  tlw 
oompotitioas  he  is  obliged  to  teach  1" 

Hb.  Woboak  seta  forth  as  follows  his  own  objects  in  miling  the 
vocal  sonatinas,  and  in  the  work  of  personal  insliuclion. 

"  To  take  a  comprehensive  view  of  the  subject  then,  1  suppose 
my  pupil  lo  learn  both  the  piano-forte  and  singiiiK ;  and  to  ba 
awnt  the  ue  when  girls  are  on  the  point  of  leaving  scnool— bat  she 
nay  be  older.  My  plan  it  this  i  J  take  n  very  ^or^  and  simple 
Mmpautiun,  My*  'White  Mod  and  giey  nod,*  Ho.  10.  I  first 


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7S      morgan's  address  to  rat  fkilh  hrhonic  iocibit. 

teach  Hie  pTinci|iIn  and  pmclice  of  fingering,  m>  Tar  as  Telata  to  Ibe 
lesson;  Sdiv,  (lie  lime;  3d\y,  the  propor  iiiionalion  of  Ibe  nolei; 
4lhl;,  theliillingof  distances;  StUly,  (he  sinking  of  the  melodies, 
as  a  single  air,  and  as  a  round;  in  evei^  waj,  in  regard  to  the  be* 
ginning  and  accompanying  beraelF;  6lhlj,  the  Intervals,  as  applied 
to  the  melodies  ;  7lnly,  the  same,  as  applied  to  Ihe  plain  coiinlHr- 
poinl,  in  two  and  three  pnrls,  exliibilcd  in  the  vocal  parli,  uiid  the 
florid  counterpoint  in  the  a  ceo  m  pan  i  men  1 ;  Sihly,  llic  thurmigh  bass, 
practically  and  Iheorclically;  'Jllilj',  and  t;islly,  the  comiinss  and 
powers  oi^^the  roice  and  inslrumenls,  for  which  tlie  round  is  com- 
posed." Tbia  ii  indeed  setting  about  the  work  of  iiulructiwi 
ooDCstljr. 

In  the  discussion  of  the  present  system  of  teaching,  he  thus  de- 
scribes its  most  common  elTfcfs  and  npiiearaiices. 

"  If  any  proof  were  ivanliiig  of  llie  frivcililv  of  a  taste,  httwerer 
refined,  tlint  is  nol  C(ir'oli;]:ilod  bv  knuwkuljc,  such  proof  can 
easily  he  found.  On  qiiistioninfi  bdiw,  ho  have  allcnilcd  con- 
ccrls,  tthcre  ihc  first  perCormcrB  hive  liera  en:rnv'''ii.  anil  tlie  most 
masln  ly  I'Dmpii-iliiins  pcrfiirmed,  1  have  ircricraliy  fii[iiiil,  (iiat 
almo^l  ■.■very  linrmonLons  irniircssiiiii  has  IxTri  i'triiccii  liv  siiinc  Irillc, 
such  iis  an  old  b:.llail,  a  nnv  fiirc,  or  Ihc  r<;(,nuy,;,cJ  i,l  a  chilli  : 
and  I  will  vcniuielo  ai!irni,  tlint  if  (lio  I'liilli^uiii.iiii/  S  „  i.  iy  «,  ,,■  lo 
exert  tln-m5i;lvfs  lo  iii^iiiraliori:  .liiii  in  Ilic  i  tiLif  r  m  iln-it  ;>  rl.,r[ii- 
aiices,  to  put  an  infanl  villi  a  [iJi;Il-  in  lu.s  Iru^-I  n-.,  a  i^iMr,  ir.i.'icjn 
in  tivrnty  ot  a  female  andienci-,  wo!jlil  llii:  iit>;[  il.iy  r.-niiiiiluT  iiltle 
ur  iiodiinL'  iif  the  concert  but  the  cliild  anil  (hi-  liiMli'.  This  may 
be  attributed  to  sexual  levity;  liiit  I  hare  rmsrui  to  [jelievi^  (hat 
under  the  influence  of  a  good  I'llncaiiDii,  liiJii^s  may  ln'coitit:  as  at- 
tached (u  ralional  amn^emi-nts  as  gentlemen  ;  and  con^'q  ienUy,  by 
means  afn  proper  mnsieid  eilucation,  they  may  be  maile  lo  [n'rceive 
and  feel  Ihe  inlellectiial  pleasure  of  music — that  cnnli;m|ilntive,  and 
czquibili' enjoyment,  that  gratifies  the  eye  as  well  as  the  ear." 

.11 II,  WiiHfiAN  ha?  biiill,  we  have  said,  on  Ihebssis  ofuhl  cafclirs 
ami  r^iuri  !  „  ;uul  if  liis  aclieme  fails,  we  think  it.  fiiU)n-  inII  i,ni:ily 
lie  iil(rih,L(,iljlr'  lo  the  wurils  of  the  themes  his  vmi.t  ii  ii^ri  l^i  llie 
sound  innsicnl  learning  of  the  masters  he  very  jtislly  r\ulls,  induces 
him  to  select.  Ilis  reasons  are  ingenious,  but  they  will  not  bear 
doivii  (he  general  regard  for  interesting  words,  expressively  tieatcd, 
which,  ill  the  general  estimation,  coastitute  the  grand  recommenda- 
tion and  BUpeiioTitj  of  moal  science.  At  we  aluUL  gin  tlie  anthoi'a 
own  defence,  be  will  not  coniidei  it  Bnfiiir  in  ns  lo  state  tbat  raoslo 
as  B  langoage  [>  ezceediogly  ngne,  not  te  my  unintelligible  to  tbe . 
million,  and  liovrenr  aosceptible  maiibind  majr  be  of  tbe  beauty  of 
■oundi,  tbey  inletpret  thwe  soundii  by  tlie  sentiments  with  wUdi 
ibeyaie  associated;  Nor  ^  tbis  luli^  wbick  atone,  cut  give  dqlif* 


WORGiN'S  ADDRESS  TO  THE  PHiLIllRMOMC  SOCIETY.  73 

miiiale  ideas  to  sounils,  be  ever  infringed  or  ovcrlf'npcd  willi  impii- 
nify.  Mr.  W.  however  defendi  his  niioplion  of  llic  snlijccls  he 
has  chosen.  It  opiiears  to  us  th;tt  it  w  ill  bi'  more  cosy  to  cvailc  than 
to  obviale  Ihe  objection,  and  we  submit  Ibis  allernnlivc  to  his  con- 
siflcntifln  u  not  at  all  iDteifering  with  his  sjstcm  of  magical  pro- 
gmtion.  Themateiiahnot  Iltbleto  onr  very  obTioussn^ieEtionare 
Mifficiently  nnraerow  to  afibrd  him  abundant  choice,  and  bis  em- 
plo^nwfit  of  IbOM  be  has  adopted  is  certainly  very  ingenious  and 
intereiling. 

"  It  has  been  lald  of  rounils  nnd  cii<che«,  th:<l  by  f  hn  siitiiiUancous 
|vrfi>rniaiice  of  dif&rcnl  Hiinlt.,  lliey  (iislmcl  aUeiilinii  and  cause 
o.iifusion.  If  liiis  obji-clion  be  rrtilly  <v,vM<;  it  i,  equally  applica- 
hU-  la  fugijp,  imilalii.ii,  aiHl  cveiy  nf  ],.,iiit  in  vocal  niiisic  : 

it  snbji'cts  iliegunins  ofa  l*M.EsTrii  v,\.  -i  ;i!Ai;cn[.r,o,  ttnd  a  II an- 
UEL,  lo  the  fetters  of  imiioterict;  arniiliihlcs  llorid  conntcriJoinl, 
and  enervates  the  nbolu  sihtcin  ul"  niiisic.i!  composition.  The 
strict  carrespondence  of  teii-e  ami  Miimd,  allribnieil  lo  (be  ohsolcle 
sysfem  of  iPic  ancients,  is  nnitn^iblodly  i:ii:oiii|iiitibli;  nidi  that  of  Ihe 
nioMeriiK,  nnd  will  not  1  Miink  lie  reqnlicd  by  uny  person  susceplibic 
of  liie  cluinns  ul'  vocal  liarniony.  The  ear  accustumeil  to  the  com- 
bin^iioii  of  nm^ii  al  tonncU  is  easily  reconciled  to  thji  imaginuy  de- 
fii  I  ;  and  tlie  niin-,1  u.nnlrrs,  in  a  pleasing  abstraclion,  from  vord  to 
word.  Mud  ffoin  note  to  note.  Tiic  rational  picnsiire  to  be  derived 
froiu  music  is  nut  bo  much  in  the  appropriation  of  nolcB  lo  words  as 
ill  Ihi-  inyc^ligation  nnd  analysis  of  barm  on  ica  I  combinations." 

We  base  niadelheae  few  remarks  and  qnolalions  as  a  preface  to  a 
conmiuiiicalion  ViC  have  received  frcro  Ma.  Wobgan  birascif  upon 
this  subject,  in  order  that  \ie  may  not  be  suspected  of  suppressing 
unr  onn  opinions.  Mn.  W.'s  letter  is  pcrbapi  something  out  of  the 
usual  course,  but  it  sseiai  lo  ue  enlilled  lo  a  place  in  our  miscellaiijt 
by  t)is  temper,  frankneta,  iadepeaduice,  atr(M>g  eense,  and  perw- 
Tonuice  it  carria  oa  its  surface. 


AN  APOLOGY  FOR  A  PUBLICATION  ENTITLED 

VOCAL  SONATINAS. 

The  plan  and  tendency  of  (his  publication,  being  detailed  in  the 
Author's  address  to  ihe  I'liilb'irmonic  Society,  it  is  not  bis  present 
intention  to  rfi:.iinlul.i!e  llial  detail,  bnl  merely  lo  state  \tbat  may  be 
con-id-*ird  ,is  „MPii|>]i  nii  u(  Id  expiiMlioii,  wlicie  it  is  remarked, 
that  "  U-Md'iil  ,.!.d  IjiillKiiit  eMciilion  has  .-iriivcd  at  a  siinimil,  be- 
yond  which  the  itulhur  supposes  no  intelligent  masician  e^^pecls,  or 

VOL,  III.  HO.  IX.  It 


74  APOLOGY  FOU  THK  VOCAL  10NAT1NAS. 

wislica  the  art  'lo  aspire."  Siicli,  liowevet,  is  tlie  imperTectioii  of 
human  ncquiaitions,  llmt  what  we  gain  one  my,  we  freqaeotly  low 
aiiDtbcr,  and  tbe  calm,  lasting,  and  uildleclnal  pleaiures  of  science 
are  ollen  MGri6ced  to  the  exquisite  but  intoxicating  pleuims  of  art 
Siraplicitf ,  the  criterion  of  good  taste,  or  wliat  u  the  uune  thing,  of 
good  icnse,  is  vitiated  b;  ornament  p  and  in  tbe  tplendour  of  the 
superstructure,  llie  fuunilalion  is  forgotten.  To  apply  thex  remarka 
to  ronsic,  it  may  be  observed,  tliat  nhat  is  culled  execution,  and 
pRrliciiInrif  itislrumcnlalexeciilion,  is  now  so  {generally  aimed  at  and 
ndiievpd,  lliat  to  sit  down  to  a  pintio  forte  witboiit  exhibiting  veto- 
ri'y  fif  lji:^'i'r,  is  to  proiliici;  ilisnppoinlmcnt.  Pathos  is  an  opiate, 
!  till'  oiih-  |'a!,;ioii  or  i-iiiolmn  tliat  music  is  expected  to  excite,  is 
iui;L,Li:iliiiii.  I'.ut  llii.s  vpiciirism  of  last  F,  this  vehement  demand  for 
liii^li  I'xciltmciil,  will  probiibly  in  the  end  supply  a  remedy  for  the 
disorder  it  produces.  The  epicure  returns  to  plain  food.  Admini' 
tioii  is  a  short-lived  passion.  The  volcano  is  disregarded  at  Sicily 
and  Naples,  ami  in  tropical  climates  the  sublimity  of  the  tempest  ii 
anhceded.  But  us  art  is  funiiik'il  on  Ecience  and  science  on  natdTC, 
there  is  .i  priiLiitive  genii  in  art,  tliat  may  be  oblileralcil,  but  cannot 
be  destroj  eil.  1'his  germ  is  conspicuous  in  the  master-pieces  of  (he 
aniieiits,  whicli  in  music,  as  in  sculpture  and  painting,  villalwaji 
be  llic  eartieit  models  upon  vhich  the  student  in  tlie  sdence  or  tbe 
art  odglitto  work.  To  begin  with  (he  moderns  is  to  begin  at  the 
wrong  end,  and  to  end  with  the  nnticnts  is  to  end  where  we  ought  (o 
begin.  However,  those  who  brgiu  witli  the  moderns,  rarely  turn  to 
the  nnlients  for  any  good  purpose,  or  with  any  salutary  feelings.  To 
thciu  ConELLi  and  PirncEi.i,  arc  insipid,  IIanoel  old-fash ioncd, 
n!ul  Si  ART.A TTi  iiiiiili'i  able.  Few  visitors  go  from  the  Exhibition  at 
SiiiiK  r.M't  l!^lus^^  111  cniilemphile  the  productions  of  PiiiniAS,  at  the 
Itrilish  Museum.  Vrt  to  confine  ourselves  exclusively  lo  any  parli- 
fiilar  sclidiil,  is  lo  wed  prijiidicc,  to  diicountcuance  talent,  lo  con- 
tra,:! o  ir  iiiiriib-,  null  to  ^ibrklge  our  pkusiires.  Tar  be  it  from  raelo 
iliriCiitiinge  llic  spirit  that  delights  in  (lie  encounter  and  iu  the  con- 
(]ucst  of  practical  dilHcultics.  It  is  the  noblest  ambition  of  the  art, 
and  (lie  portal  to  every  spacics  of  classic  excellence.  I  would  only 
nut  have  the  means  mb(nkea  for  tbe  end,  not  our  senses  bewildered 
by  the  brilliancy  of  execution ;  which,  however  fasdnating,  is,  aRer 
-alt,  but  one  styb  of  composition,  and  that  by  no  means  of  the  h^hest 
class.   A  pastflge  of  canon,  a  touch  of  pathos,  an  ebnllition  of  senli- 


APOLDGV  FOB  THE  TOCiL  lONlTlMAI. 


ncnt,  a  wliisjiei  ornntuTCjiibeani  of  energy,  ct  flash  of  sublimemo  In- 
lalion,  infioitel}' snrpasses  in  exemplary  miitit,  mere  velocity  of  fin- 
ger, or  of  meal  uUeniace;  and  it  is  tcmurkalilc  liiat  tliis  opinion  bni 
been  nniformlj;  InmsmiUed  from  age  to  age-,  by  llie  grcnlcst  coin- 
poKK  Bod  performers,  and  conttnunlly  disregarded  bjt  a  large  Dj'ijo- 
nty.  Howerer,  it  a  not  to  be  eKpected,  that  cnjoymenli  iFhioIi  are 
Iheo^pring  uflhoiight  and  &cling, -nrill  ever  become  as  popular  as 
(hobc  ubtaincd  i>n1y  at  Uiircnsl  of  manual  labor.  To  wonder,  ami  lo 
cxcile  vianiici,  arc  iiaturul  niid  coiiscigucntly  universal  proiicnsitifs. 
liut  velocity  of  finger  is  nuiv  no  woiiiler,  and  children  can  execute 
passages  lliiil  tbrly  or  fifty  years  ago  would  liavc  stiiggered  jnnslcrrs, 
liiicciilioii,  llierclorc,  is  iiui  coiijiiraliiin  now,  but  the  cliarms  of  music 
are  actually  on  llie  wane— at  least,  in  ri  fiiiuil  society  ;  for  the  fasti- 
dious ear,  fumiiiar  M'iili  rapidity  of  notes,  requires  the  varietj' 
vhich  Bucli  rapidity  docs  not  alTurd  ;  and  tvhile  it  is  duappointed' 
v'ah  not  finding  novelty,  is  habitually  excluded  from  (lio  touch 
of  aJTecltng  simplicity.  That  velocity  of  finger  is  an,  equiTatent 
ibi  the  lime  and  labour  bestowed  on  its  attsianient,  it  a  point  upon 
vbicb  opinion  is  by  no  ineani  unaDimoai.  Granting  the  affinna* 
ti?e,  liowerer,  and  acknowledging  the  gennalKy  of  execution,  yet 
still,  the  cost  of  lime  and  np|i1icalion,  indolence,  distuite,  and 
other  pursuits,  arc  such  burs  (o  its  nllainmeul,  that  a  great  m;ijurily 
in  the  musical  world,  not  excepting  even  professors,  are  excluded  from 
the  practical  acquirement  of  a  style,  of  wliicli  rapidity  and  difficulty 
arc  the  prominent  characteristics.  This  large  majority,  therefore,  are 
left  to  admire  and  applaud  llie  conquest  in  which  tliey  bave  no  share. 
How  lasting  may  be  the  admiration,  or  how  fervent  the  opplause  of 
people  so  circumstanced,  let  those  who  arc  versed  in  the  liuman 
heart  decide.  It  is  to  this  majority  that  the  Vocal  Sonatinas  prin- 
cipally, but  not  solely  appeal.  Jo  the  performance  of  these  compo- 
sitions, the  meanest  prolioieatnay  takea  ttutOt  and  consequeally 
an  interest;  ami  lliose  performers  vbo  cannot  Bhin^  may  nerecthe- 
Ic!<s  become  sociable  and  useful.  What  they  iraat  in  brilliancy, 
they  may  compensate  in  atculioeK,  and  at  least  become  good  limiiti 
—an  important  acqoiritioa,  of  which  an  ezcliuive  attachment  to 
playing  deprives  US.  As  humony  is  the  basis  of  compositioD,  so 
ihoold  it  bo  tbe  priadpal,  and  the  oonitant  olgeot  in  ylew*  in  the 
study  oTllie  musical  classics  s  and  the  intention  of  tboraagh  bass,  is  ■ 
to  habituate  us  to  this  olyeot ;  but  eternal  solo  playing  on  the  con- 


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76 


APouior  Fon  tue  tocal  sok&tinas. 


tiaty,  saps  llic  very  founjulion  of  musical  GOience.  In  composilions 
adapted  for  the  pinno  furlc,  ihe  fingers  are  agile,  vrhile  Ifae  mind  ta 
donnonl.  Wedonnich  and  leatn  liKIc ;  for  llie  prelim  inariei  of  fill' 
geriag  and  Cine  being  adjusted,  Ibe  rest  of  practice  is  iin-idead  iteni- 
tion,  to  intellect  pnrgalory  or  tfae  torpedo's  (ouch.  Thit,  indeed,  is 
not  generallj  the  case,  nor  vill  be,  till  intenectnal  pleainn  becomes 
popular;  for  the  mind  nnacqiiainfed  nilh  scientific  researcl), and  yet 
active  in  other  pursuits,  is  liKle  ilisgusicd  at  practice,  and  nhere  tfae 
ear  is  good,  that  little,  trhen  voluntarj,  is  less.  But  aflcr  nil,  such 
proGcicncy  moves  within  verj  narrow  limits.  Genius  and  science 
tvill  receirc  little  encoumgcmenC  from  mere  ]mtcti(ioncrs.  The  lan- 
guage of  music  is  a  dead  letter  to  (hoeenho  have  not  learned  its  gram- 
mar,  to  those  who  utlcr  delightful  son nds,  but  cannot  sympathize 
with  the  author  of  their  arrangement,  the  composer.  Still,  liowerer, 
the  composer  and  the  performer  exchange  services  mutually  and 
equally  important;  and  it  must  be  confessed,  that  music,  like  the 
place  ofits  biith,  has  many  mansions;  and  no  one  is  accountable  for 
choosing  that  which  )ileases  him  bCdt.  Iflhe  nnlure  of  (he  Vocal  Sona- 
tinas be  rightly  understood,  it  will  be  found  Ihiil  their  lenik'ncy  is  not 
to  depreciate  any  department  of  Ihe  art,  but,  on  the  contrary,  to  fur- 
nish mateiiali  for  every  department,  and  to  accommodate  every  pnu3> 
lioner;  from  the  beginner  fit  hb  finle,  to  tbe  proiiclent  on-on  organ. 
Let  sdoptayingoT  singing,  therefore,  have  its  doe  share  of  publicity 
snd  applanie,  but  not  more  than  its  due.  [larmony  is  happily — 
providentially  I  should  say,  of  a  social  nature.  Every  one  willi  a 
tolerable  ear  may  partake  of  il,  may  enjoy  it,  and  circulate  its  enjoy- 
ments, at  the  cost  of  littUr  paing  and  little  time.  A  concert  of  ama- 
tenrt  well  regulated  may  govern  the  musical  world,  and  the  Vocd 
Sonatinas  are  composed  for  such  a  concert.  They  are  addressed  to 
amateurs  and  to  professor?,  and  do  not  obtnide  npon  the  ascendancy 
of  any  style  that  is,  ever  was,  or  ever  will  be  in  vogue. 

The  odd  Numbers,  that  is  the  1st,  3d,  5lh,  &c.  are  generally  de> 
signed  lo  accommodate  the  hamblebt  proficient;  the  even  NunttMra, 
those  more  advanced ;  aad  some  of  tbe  oompe^ioss  in  tbese  Nnm- 
bers,  proficients  in  Uifl  .flnt  dMs^I  say  detuned  ]  for  I  sptak  of 
the  plan,  not  the  execatkm  ot  this  mnli— be  that  wbst  It  may,  tba 
pbnisvbat  I  unhetederirons  oTnUiibltiDg  ineraypolnt.  .Iftin 
modd  oflhiBptui  be  good—if  Hsprinciidei  Ixconoct,  tkepieaewt 
(Irn^nn  ii  inSly  r  secondaiy  objnri.  Anofluv  strvcfure  nsigfet  1m 


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AfDLOOy  FOR  TBE  T0C4L  SONATINAS 


77 


better executfd  Iiv  alilcr  iinruls,  or  tlic  pliin  itself  im]ir(iv«i  upon.  So 
mHcli  lliR  iictlcr  lor  (lie  musical  world.  IJiil  Ihoii!,^!  it  is  not  for  me 
lo  say  /low  lliis  irork  is  rxcdiifcd,  it  may  not  be  inijiropor  to  say 
snmelliins  of  irhiil  is  >h>ni-,  m  -M  !f;nt  iitk'miildl  to  I.cilonc  ;  in  staling 
«hirli  I  liiivciioiiidTiiKirMif  NTnpiuiliUnijiliciiif.irmnlioii  conlainod 
in  till'  litlrodiiri-icv  i^'.  ivs  (o  ! hi-  Vnc-A  Soiial inns,  or  in  my  Xlhhess 
to  tlie  PliilliHtmonic  Society;  I  iiiitoIj  mean  lo  stale,  llial  consider- 
ing iDusio  01  a  slud;  and  as  a  recreation,  I  liave  eii(Jeavauretl  to 
fMlify  Ihs  vork  fcf  both  llicso  pnrirascs.  'By  parll;  louring  on 
ebutical  gronnd,  pNTtlj'  relying  on  independent  thought,  and  partlf 
jiddingthe  rein  lo  fiincy  and  sentiment,  I  have  endearonred  to  con- 
Kilidate  a  pananenl  stjrie,  len  attmclire  than  rannd — Ic»  capti- 
vating than  tenaciou!) — lea  calculated  lo  take  the  heart  by  storm 
than  to  secure  it  by  gradnal  approaclics,  by  an  inipcrishRble  conca- 
tcnation  of  intellect,  sentiment,  humour,  anil  variety.  Snch  ii  Ifae 
style  inculcated  by  tlic  clasalcal,  and  attenipleil  by  titc  original  com* 
positions  in  this  work — a  style  not  pcrliaps  liic  best  for  obtaining 
popalarity,  but  the  best  fur  gralifyin^^tliose  nliosenpprobiition  it  is  an 
honour  to  obtain,  nnd  the  best  for  opening  a  communication  between 
Ibe  concert  room  and  llie  study,  and  for  ensuring  Ibosc  "  pleasures 
of  the  evening  that  etiatl  bear  the  reflections  of  the  morning."  Such  is 
the  accoant  of  a  style,  which,  being  as  far  as  I  know,  original,  re- 
qnim,  as  I  apprehend,  an  introduction  which  none  but  its  author 
woald  care  to  provide.  Oiigitiality  indeed,  unless  Ton nded  on  solidity 
of  ptinoipl^iaaoUimnotwaitli  urging;  and  where  tbt;  basis  is  firm 
IbodaimBBybediqwiiMdlritli.  I  am  not  labouring  for  (hereputa- 
tioBof  u  invBDlba,  Imt  ibr  (be  cofutntotion  and  eatablishmeDt  of  n 
i^MbmtwMj  bt  estsntlaUy  serviceable  to  the  musical  mtld,  to  tbe 
■doacB^  to  the  art,  to  tbe  profiMioo,  and  to  (he  trade.  To  contem* 
plate  the  statue  in  the  block,  or  the  oak  in  the  acorn,  may  appear  a 
Tisionary  arausemenl.  Thai  such  eJTepts  ns  I  describe  may  result 
from  these  diminutive  essays  may  doubtless  be  "  a  consummation," 
wbid),  however  "  devoutly  to  Ik  wished,"  is  hardly  to  be  expected ; 
but  1  would  fain  obviate  the  imputation  of  actual  (rifling,  to  which  I 
am  aware  that  many  of  these  and  of  the  subsequent  essays  in  this 
work  will  subject  me  :  however,  they  will  at  the  same  time  prove 
Iliat  I  do  not  treat  (he  subject  with  such  inflexible  gravity  as  to  for- 
get that  music  is  a  rclasalion  as  wcl!  as  a  study.  On  tbe  contrary, 
this  publication  will,  I  hope,  suit  the  humour  even  of  those  viho  arc 


78  AFOLOBir  van  the  vocal  sonatinab. 

duinclined  to  think  at  all  Krivtuly  oftbe  art.  In  fact,  tiie  original 
puTport  of  these  cssaj's  was  principnUj'  relaxation :  thej  were 
penned  to  fill  up  agreeeblj  the  ioterTok  of  profenionat  toil,  by  ■faort 
exercisn  in  compoiition.  Hence  the  wordi  of  theie  composilioni 
were  fieqncnlly  such  as  fii^toccarred.— The  froit  of  (licae  laboun 
arrived  at  malurily  bj  alow  progreaaion,  and  work,  at  fint  light  and 
plcnunt,  ended  in  grave  and  painful  application.  This  detail  may 
cxcifc  a  smile  in  lliosc  unacqtralnted  w!lh  llic  toils  of  composition, 
or  in  composers  themselves  wlio  hnve  Imppily  surmoiinled  such  diffi- 
culticG;  I  liavc  not,  confessedly,  in  tlic  constniclion  of  this  work, 
IhotigU  some  styles  ofeompiisifion  are  t!oiil)(li;5s  easy  cnongh.  Mah' 
riAT,  imlwd  h-M^  iis  dial  He  om;Jil  not  to  make  dimcullies  of  trifles; 
but  lie  lliiit  has  a  pruiitt  respect  fur  tlic  public,  fur  his  art,  nnd  for 
liimsclf,  has  lietlcr  niithority  than  thai  of  MAiiTiAt.  for  his  careful- 
ness. Besides,  brevities  are  not  necessarily  trivial :  the  Non  nobit 
Domine  will  survive  swarms  of  grand  choruses,  grand  concertos,  anil 
grand  lonalas.  Bulk  Is  not  always  grandeur ;  and  when  it  is,  grains 
of  sand  mokethe  mountain.  But  short  esuyi  in  musical,  as  in  lite- 
rary composition,  have  at  least  tbeie  adruitagtsE  tbey  cannot  ba 
Tory  tedioQi)  and  they  aSi^rd  variety.  Having  now  ttated  the  rev 
ions  vbicb  have  induced  me  to  plead  a  caose  which  iraald  not  havo 
found  another  advocate  I  have  only  to  add  thnt  my  moUvei  in  ki 
doing  are  to  make  my  cause  intelligible  at  least,  if  I  am  not  happy 
enough  to  make  it  interesting,  Every  publication  indeed  must  rest 
ullimalcly  on  its  own  intrinsic  merits,  not  on  the  author's  opinioQ  or 
the  recommen[|;Lliuii  of  frientlsliip.  lie  it  so.  But  as  in  the  execu- 
tion of  this  work  I  liave  spared  no  pains,  so  in  every  honest  endea- 
vour to  obtain  public  patronage  1  will  not  relaz  in  diligence,  noi 
invalidate  by  indolence  the  claim  of  indulgence  Dsually  granted  to  a 
well-intended  but  imperfect  trork. 

T.  D.  WO'RGAN. 

Sept.  26,  If-SO. 


19 


One  Duet  and  Six  BaBadi,  zrith  m  Aceompa^meMfor  lie  Piano  ForU,- 
anapoted  bff  WetUy  Doyle,  Esq.  London.  For  the  Author. — 
Bj  llie  Royal  Harmonic  Iiistitutiun. 

VVe  have  before  had  occasion  to  spent  of  some  comiioflitioos  from 
the  saiiie  liaiitl  as  lliis  little  volume,  Hliidi  exhibits  tlje  Mnie  trails 
as  (he  llicee  eongs  to  which  wc  nlliide.  Mr.  Dovle  »tites  like  a 
man  accustomed  to  produce  elTcct  upon  au  audience  xha  voce,  and  it 
is  easy  lo  (race  llie  execiilioii  of  a  singer  of  great  feeling  in  every 
note  and  passuije  ol'liis  ballaJs,  nt  the  same  time  that  we  perceive  he 
has  bten  lilllc  acciistuincil  lo  the  rcbtraiiils  imposed  by  scieuce 
upon  the  professional  performer,  iiur  indeed  to  bend  to  any  laws  but 
those  hb  discrclion  and  his  observation  of  ffhat  ticenses  (he  sympa- 
Ofiea  of  a  mixed  audience  will  allow.  HU  panagea  aic,  from  this 
cause,  commonly  as  simple  as  pMaible  in  their constructioa ;  they 
allDV  tlie  TuUest  latitnde  for  pause  and  effect ;  they  lie  vithin  a  very 
taodeinte  compass,  and  Ihey  abouDd  in  melody.  These  attilbulea  &t 
them  completely  for  the  general  purposes  of  omateura,  and  we  may 
safely  recorameiid  Ihcm  as  elpgaiil  productions. 

We  would  ho^vcve^  caution  the  author  against  the  too  easy  adop' 
lion  of  beautiful  melody  without  qiiES[ioning  his  memory  severely. 
We  know  how  exceedingly  ditBcull  i(  is  to  avoid  resemblanct^s. — 
.  Tiius,  ia  "  A  Soldier  lo  the  Arno's  siih"  he  begins  with  almost  (iic 
exact  notes  of  his  friend  Mn.  Mooiie'b  cxijuisile  "  /'7<iri'  nit  Ihnu 
shUng  rhitr,"  published  in  the  (irsl  volniiR-  ul"  N^ilioiial  Ai:^.  .\.>r 
is  this  the  ouly  ii^i...igc  .if  uniiilciLli...iM  .onipiUitidti  ire  co^iUl  |,.>i„t 
ou(.  His  (rar,si;i.ins  too  :n<i  M,metiiiii-s  such  os  lobdruy  the  unptiic- 
liseil  aspiranl.  But  Mil.  Dovi.E  has  eU-arly  a  sciiiibilily  in  Music 
that  will  lead  him  (o  command  the  fei'liiigs  of  others,  and  ins(ead 
of  "  milking  one  more  adeinpl,"  wc  wouUl  incite  him  to  study  (he 
grammar  of  composition — lo  wiilc  many  songs,  lo  blot  much,  and 
M-lec(  austerely.  If  he  has  leisure  and  iiKlusfry  for  thus  ablaiiiiiif 
technical  facility,  we  are  persuaded  he  will  succeed  eminently  in  the 
style  he  has  adopted.  He  seems  lo  be  intensely  susceptible  of  the 
charm  and  of  the  solace  of  music ;  and  Lhoogh  we  cordially  laraeat 
that  he  thonld  have  had  such  cause  as  his  prefatory  address  alludes 
to,  to  feel  its  value,  we  r^oicc  in  the  tBxl,  and  subsciilie  as  cor- 


80 


WE8LET  DOTU*t  ULLADB. 


disltj  to  the  advice  he  givei  and'  tie  inference  be  (hui-dnnrs:— 
"  VariouB  u  on  the  deslbies  whicli  bang  orar  human  life — M,  all 
who  have  an;  tute  for  Houc  cultivate  cherish  it  with  a  Iiiver*a 
fondnesi^  but  mil  with  a  roiser'a  care.  It  has  acquired  a  very  general 
reception  in  society — it  inTolvcs  incalculable  ailvantagea  to  an  araa* 
tenr."  There  lies  a  truth  far  more  important  to  youth  tbau  is  sus- 
pected under  this  recommendaiiun,  ant)  particularly  under  the 
general  meaning  of  the  last  member  of  tlie  scDtence. 

We  cannot  dismiss  the  publication  witliout  censuring  the  cnrcless 
and  iacorrect  way  in  which  the  boolc  is  printed.  It  is  disgraceful 
to  the  Institution  from  whence  it  is  issued,  which  being  conducted 
by  men  of  science,  are  doubly  boutul  (in  honour  as  tradesmen  and 
in  candour  as  professors)  to  protect  an  amnleur  especially,  agninst 
the  blunders  oi  the  people  they  employ,  which  are  such  as  a  com- 
mon publisher  would  blush  at.  There  are  errors,  in  music  and  in 
words,  from  the  first  page  to  the  lost ;  and  wa  scarcely  ever  remem- 
ber to  hsTc  leeu  b  work  in  this  respect  mors  shamelessty  sent  forth. 


TWAm  Lenons  and  Too  Ain,  uUh  VanaUons  for  f*e  Harpi  com' 
posed  for  young  ScAolars  hi/  C.  y,  Bodua,  London.  Chappell 
and  Co. 

Fourteen  progresihe  Ijessom  and  Preludes  for  the  Harp;  composed 
bi/  F.  C.Me^er.  London.  For  tlie  Kcgcnt's  Harmonic  Institulion. 

"  Tiierc  be  land  rats  and  there  be  water  rats,"  says  one  of  Shnkes- 
pcar's  Charndiirs,  lo  ivliich  piece  of  dramatic  zoolngy  we  may  add, 
tliiTi:  l>i:  :i  sijccir.s  ofmaraiulm  in  music,  wlio  seize  without  remorse 
upu:i  the  projiciiy  uf  other  men's  intellects,  endeavour  to  paas  lliera  off 
for  their  own,  niid  latc-Ihe  profit  that  may  revvanl  tln!  (r.mFtjrc-sion. 
We  have  held  up  one  or  two  of  this  honorrLble  fniL^riiity  lu  piililic 
animadversion,  and  we  lament  to  Uiid,  lh»t  lln'ie  an:  Tr^Ii  ac'ti'S'.iiin; 
to  those  ChetaBert  diaduslrie  who  have  claims  to  our  attention. 

Betwoea  the  two  sets  of  Lessons  before  us  there  will  be  seen  suf- 
ficient analogy  to  jutiiir  our  imputing  to  Mn.  Meyer  willful  pla- 
jgiarisn  fiou  Vb.  Bochba  in  the  gicalcr  pan  of  hi«  book,  as  the 


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BOCHSA't  INIl   HE\r.n>  T.ESSOS-i.  SI 

reader  \ti\\  ducorer  if  lie  takes  the  pains  (o  compatc  tlie  iblliiwiiig 

analj'tis  triih  the  works  io  question. 
The  cominencmg  preludes  will  be  found  to  proceed  upon  the  same 

principles,  and  note  fur  note  the  same  in  many  places,  except  Ibat 
Ihe  key  is  changed,  the  origiual  being  in  £b  mftjor,  tbe  copy  in  C 
miyar.  Lessons  1,  both  in  common  time,  experience  tbe  same 
obuige  of  key,  and  MBYsn's  is  evidently  fonoded  on  Boohia.'i, 
altbough  it  mutt  raUier  be  called  an  unilatioii  tlian  a  direct  counter- 
part. The  Becand  preludes  again  rewmtde  oacb  other  in  torn,  vix. 
Mcendiag  and  descending  arp^gios,  principally  the  latter.  In  tUe 
RtsI  bartbey  both  commcncewitU  the  key  note  intticbass,(BaciisA'a 
in  Eb  major,  and  Metbk'b  in  F  major,)  a  semiquaver  rest  in  the 
treble,  folloned  by  an  ascending  and  descending  arpeggio ;  the  next 
bar  is  slightly  altered  in  MsYEn's  by  giving  the  5lh  and  81h  of  the 
dominant  (o  tbe  left  hand  in  the  treble,  the  right  etill  preserving  the 
tarae  form  as  in  the  first  bar,  and  thus  agreeing  with  Mn.  D.'b.  It 
proceeds  in  the  same  way  throughout  the  prelude,  McYF.n'a  diUcr- 
in^  from  Bochsa's  by  liie  changi:  of  key  and  (he  introduclion  of  Ihc 
left  ii.iiul  i"  llie  treble.  Li;5^oii  2.  Tiii>  resemblance  in  lliis  lesson  is 
still  more  decided  in  every  resjicct.  Tlic  key  is  changed,  but  the 
time  is  llie  same,  and  the  similarity  is  too  striking  to  require  analysis. 
Prelude  3  is  in  the  same  key,  Bb  major,  and  the  first  half  bar  is 
literally  the  same,  namely,  an  ascending  ootave;  the  other  half  of 
thebarditfen  Ihuit— Us.  Booiua  ascends  the  other  octave,  while 
Hr.  Meyxk,  by  lepeating  the  Icey  note  at  the  end  of  the  &ist  oc- 
iAic,  doea  not  reach  the  coDctntion  of  the  next  octave  till  the  be* 
gioningof  tIieBeco&dbftr,and  thus  lerenes  the  last  barof  Hk. B.'s 
prelude. '  He  then  tafces  the  arpeggio  on  (he  chord  of  O  minor,  fol- 
lowed by  the  subdominant,  dominant,  and  tonic.  Mr.  B.  on  the 
coalrary,  after  the  ascending  scale,  takes  an  arpeggio,  or  the  sub- 
dominant,  dominant,  and  tonic,  the  last  bar  being  the  same  passage 
as  Ma.  M.  begins  with  reversed,  that  is  (o  say,  two  descending  oc- 
taves, (he  key  note  being  n^peated  in  the  middle.  Lesson  Both 
ia  ISb  major,  botli  miauetto  iii  i  time.  The  imitalioii  is  here  more 
arirully  coi.duclcd.  The  two  first  bars  of  Mil.  U.'s  lesson  are  in  the  ' 
tieble  nearly  note  for  note  the  same  us  Mr.  U.'s5tli  and  Gth  bars, 
and  the  third  bar  is  in  both  treble  and  bass,  the  same  as  thu  I3lh 
bar  of  Mr.  B.'s.  In  the  second  part  of  both  lessons  F  is  the  bassj 
which  Mb.  B.  introduces  jLn  octaves,  while  M.a.  Af-  repeats  one  note; 

VOL.  III.  MO.  IX.  K 


as  ROCHSA  I  AND  MF.VER'.'i  LESSONS. 

«ie  frcble  of  llie  sixtli  bars  only  iliOLT  in  filling  up  the  harmoniM. 
Jii,lli  lessons  conctiiilc  by  rcjii  ^iiirvr  rli.'  li;-!  p  u-t  .)f  ilii;  bar.  Prc- 
liiJe  1.  Tliese  pr,-bnl<.-^  ::r-  .  ;■.  ■  :  ,  .  ,  sninp  conslruclion ; 

the  keys  [ti;        n  m,  Ih-l  i',  '  ■  lu  :i:i:iri:,i  npcm  tlic  same  liar- 

m..iiy;  l^i,;,-  i;.:irl<'  el'  ..V.  ■  i'^.vndiiig  .TrprggioK  in  ((dile  and 

!  '■ .  .-i.t  o!"  ii.ri'n(!iii;j  ami  ('.■-.c.'nding  scslcs. 

M<i  icir  =  A  U.ii  .'iv;'-;  llivsc  ]wis'.igi;s  t)n!y  (o  (lie  rigbt  IinntI, 
'«  ';!;  !■'  -a.  Msvr.ii.  iiri  pkixd  ihem  both  in  treble  and  bass.  The 
.jy  jirjluJfS  is  upon  the  same  principle,  viz.  chords — 
ovi&l  '<!':^'  fntls  arc  lotiiily  difli^rfnt.  Lessons  5  are  both  la 
cc:ii.i:j!i  !:.uc-  Tlie  bnsj  uill  he  fuund  exactly  to  correspond  in 
vo\airuc'.ioii,  aiiJ  is  the  priocipal  point  of  losemblaQce  iKlween 
the  tno.  We  trace  no  further  imitation  till  page  11^  of  Mr. 
MsTBit's  noric,  nlicn  vie  tinil  a  striking  siniilarily  between  the  con- 
struction of  bis  prelude  ia  Bb  major,  and  that  of  Mn.  Bociisa's  in 
G.  raajor,  page  10.  Tliesame  rfSPinblance  may  be  seen  in  Mn.  M.'» 
prelude  in  G  raiuor,  pase  12,  andMn.  B.'s  in  D  minor,  page  11. 

Thi«  di?clo,ure  misrlit  sulfice.  but  the  main  fact  is  yet  behind.  We 
happen  tu  know  (bat  llie  lessons  were  publisiied  by  Mr,  Bocima  in 

r         1)1     1    1    [    f    II  r    1    py.  oniiis 

M    M  I    i       1  If      Ui  trnn^rermnst 


only   f    n       I   f    t  1    M  :       II  111  Ifa  snm  be 

paid  for  copy-rigbt.  it  is  given  in  thn  full  cu.ilidfnce  thai  the  pur- 
chosci  sbnll  continue  to  enjoy  the  iimlislurbed  possession  of  bis  pro- 
perty. Should  it  lionever  liecoinc  feasible  to  persons  of  sranll  ca- 
pacity and  less  koncsty  (o  disguhc  tlic  exterior  (jiialtlics,  while  tbcy 
steal  the  solid  excellences  of  any  production  of  genius,  the  author 
-nil)  no  longer  continue  to  obtiun  his  revanl,  because  the  pablisher 
TTilibcalways  exposed  to  the  certainty  of  losing  the  advantage  ho 
has  bought  the  momeni  the  work  attains  celebrity.  One  of  the  most 
liberal  purchasers  of  cupy-riglits,  ^J  n.  Powen  has  been  harassed  by 
continual  plunder  in  such  ways,  nnit  he  is  not  the  only  publisher 
who  has  just  canseto  complain.  We  most  particularly  lament  to  see 
the  Institution  ensnared  into  giving  its  name  (not  its  sanction,  we 
hope  and  belicre,)  to  such  foul  practices,  because  being  themselves 
professors  «f  the  ail,  most  of  them  composers,  and  establishing  their 


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BOCHIA'I  and  MKY£It'S  LBSIONt. 


«3 


tho|>  upon  the  especial  ground  of  exlcnding  loaullion  a  niilcr  laazt 
tad  more  assured  privileges  than  it  nas  assumed  (tliough  tcaioAy 
with  luESclent  justification)  tbcy  bad  bitlierlo  eojojed,  it  should 
seem  were  such  acts  sponlancous,  that  they  encouraged  the  suriep- 
litioua  proceedipgs  which  we  aie  coofidenl  they  vould  be  the  first  to 
discl&im  and  to  punish.  Novbcitobteived,  Mr.  UBrBn's  Lessons 
are  published  Jor  <Ae  Institution,  and  Mr.  Crambr's  Sonata,*'  (as 
wilful  or  as  nanton  a  plagiarisin  ffoni  Mr.  Olementi's  as  ever  was 
cuinmittcdj  bore  also  upon  its  exterior  wrnpptr  tlie  same  declaration 
oi'  its  being  the  property  of  the  Firm.  Wc  are  convinced  the  Jnsli- 
lulioii  h.is  been  ensnared  into  these  agressions,  for  tlie  plain  reason, 
tli.tt  ils  individual  members  haye  too  mndi  honour  as  men  and  enjoy 
too  high  a  character  as  authors  and  professors,  to  sacrifice  that 
character  to  their  gains  in  (heir  secondary  and  corpornle  capacity  of 
tradesmen.  We  arcgiiardiansoftheinlerealsof  aililie  patties (o  pub- 
ticaIio[i,nnd  in  the  exoculion  of  that  trust  wc  are  delenuined  lo  (Ki  strict 
justice.  Woe  be  to  the  transgressor  who  commits  the  next  trespass ! 
he  has  fair  notice,  and  (his  is  an  offence  against  which  (he  severity 
of  caitigatioD  ought  (o  increase  with  the  multiplication  of  the  crime. 


-^tomit's  MasHs,  a^illi  aii  aceompaiiimeiit  for  the  Organ,  arranged  from 
ihc full  score,  hi/  F/ncekt  NorELLO,  Organist  to  tht  Portuguese 
Enil/assjf,  ill  London.    Loudon.  Gdiloway. 

The  most  exalted  species  of  composition  to  which  science  can  dedi- 
cate its  powers  is  unquestionably  that  which  is  employed  in  the  worEhip 
of  God.  Whenever  therefore  a  genius  sonniversnl  as  Mozart's  in 
music  has  applied  itself  to  writing  for  (he  church,  it  is  on'y  a  nalurnl 
expectation  that  tlie  liighest  fervors  of  his  spirit  and  the  richest  pio- 
dnc(ions  of  his  mind  should  appear  in  fais  work.  Such  perhaps  are 
the  anticipations  with  which,  in  common  with  ourselres,  the  musical 
world  have  opened  Ma.  Novello's  p^^.  Nor  will  thisfGeling 
be  atall  decreased  by  the  celebrity  that  has  so  lately  and  so  entfau- 
siaatically  been  given  to  Mozikt's  naras  iu  England,  IbiODgli  th« 

*  fiariewed  >t  p«ge  3S3,  vol.  S. 
M  t 


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84 


hozaut's  masses. 


King's  Theatre  more  especially,  and  ifbich  has  diffused  the  know- 
ledge of  his  miauteit  boauttes  of  melodjt  through  all  the  multiplied 
conlrlTances  the  modem  att  of  pabtishing  has  been  eo  fbrlile  in 
establishing. 

If  there  boa  been  at  diSerent  ages  of  the  world  cmitlnnal  chaDgei 
in  the  style  of  ecclesiastical  mnsic,  ansing  out  of  dilTnent  notiont  of 
the  due  degree  of  solemnity  which  sacral  services  demand,  those  dif- 
fcrcTiccs  will  not,  we  apprehend,  be  found  fewer  nt  the  present  day, 
liecause  tlicy  spring  from  llic  ynriuus  modificalious  of  dcvotifinal 
fueling,  03  well  as  from  the  several  orders  of  inlellecliinl  capacity, 
and  of  the  infinitely  diversified  stages  of  musical  learning.  There 
may  also  be  something  of  aKeclarian  principle  to  bcgunnkd  iigainst 
in  the  general  contemplation  of  tlip  muiic  adaplfd  (o  a  cliiittli, 
which,  in  a  Protestant  country,  is  regarded  as  cngcrly  and  indiscri- 
minately gissping  at  any  means  of  engaging  the  aflbclions,  however 
repugnant  to  reason,  in  its  forms  of  worship.  Uencc  it  happens  that 
the  compositiom  in  this  species,  though  from  the  hand  of  the  first 
masters,  win  bare  to  encoonter  tbt  gmwer  objections  of  the  pious 
Protestant,  the  predilections  of  the  English  moriciou  vcarbed  in  the 
leamiDg  of  onr  own  cathedral  sovicea,  u  well  as  the  objections 
founded  on  more  generally  reodred  notiwu  of  the  ptuity  of  a  pecu- 
liar form  of  wonbip.  Nor  are  these  discrepancies  in  the  elements  of 
'judgment  to  be  found  amongst  I^oteslants  only.  We  know  very 
many  Catholics  who  object  to  Ggumte  composition,  and  some  cha- 
pels where  the  Gregorian  chant  alone  is  upon  principle  admitted. — 
In  point  of  fact  t)ie  definition  of  what  is  comprehended  in  the  word 
"  sacred,"  when  applied  to  music,  will  always  be  grniluated  accord- 
ing (o  the  kaowledge  and  the  tempers  of  those  by  ivliom  the  defmi- 
tion  is  given.  From  these  premises  it  seems  to  follow,  that  it  is 
our  part  to  regard  these  compositions  of  a  great  master,  with  a  view 
to  discover  and  (o  represent  how  worthily  he  has  employed  the  re- 
sources of  his  art  in  moving  the  highest  afiectiona  of  our  nature,  and 
to  endeavour  to  point  out  the  peculiarities  of  his  genius,  by  which  he 
has  exalted  or  extended  science  and  multiplied  the  meaas  of  rational 
delight  as  well  as  enlarged  the  accessory  treasures  of  Catholic  wor- 
ship. By  such  a  cowse  we  propose  wholly  to  avoid  the  imputation 
of  a  prejudiced  judgment,  and  lomeasureMoZABT,  nottiy  a  compa- 
rison with  standards  which  bcu  slight  and  ineffectaal  relation  lo  his 
ircrkt,  bat  by  productions  of  a  similaT  cast  and  dmiacter,  waiving  at 


UOZAftT'S  MASSES.  Sb 

once  all  the  mooted  parli  of  pioprietj,  except  socli  as  arc  obriou^ 
and  general. 

We  cannot,  howorer,  infibr  omselm  to  be  drana  uidft  from  the 
fint  lequisilB  of  ohnrch  roiuio  even  by  venemtion  foi  the  poai  name 
<rfMozAitt,haweTcr  ardent  (hat  Teficration  ma;  not  b;  the  lati- 
tude to  whichonr  liberality  will  carry  US.  We  have  now  a  letter  be- 
fore as  from  a  compatet  of  the  purest  taste,  and  wlio  bas  signalized 
that  taste  by  some  noble  works  in  the  ecclesiastical  stjle>  In  that 
letter  the  writer  briefly  discusses  tlie  question  before  us,  and  the  con* 
clmion  lie  dritws  is,  that  the  principle  of  tasle  is  tbuiii.  "Now,'" 
Ite  says,  "  whatis  trutli  with  regard  to  tliat  music  which  mortal  man 
;icldrcsseB  to  hb  Creator  and  Judge  ?"  Does  not  truth  require  that 
»ucb  music  should  be  of  the  most  solemn  and  impressive  kind,  and 
ilml  the  soul  of  the  composer  should  seem  wionght  up  to  tlie  liighest 
[litcli  ofcxiillalion  :"  Our  aciiiiincnLs  arc  very  much  in  accordance 
Willi  those  oflliis  emiiitnt  person. 

Among  the  instances  of  the  diversity  of  opinion  concerning  the 
true  eodeuastieal  alyle,  and  as  canfitming  the  definition  we  have 
giren,  veoannot  fefinuBfram  quotiiig  Uie  coriy  aadungalar&ottliat 
ooBdncedtotbedistioctioAitf  Pauhtkuia,  and  fixed  the  ratention 
of  mwic  IB  parts  in  tbe  serrice  o£  ibe  cbuicb  at  a  roomeat  wbert 
ncfa  ooimpoiitMMu  vere  alt  bat  qected*  Tbe  Pope  and  ooDcIaTO, 
aocmdiiq;  to  Antnao  Libeiati,  acandaliaed  at  tbe  light  manner  In 
which  the  mass  bad  been  set  and  composed,  had  determined  to 
buitk  nsasic  la  parts,  wbeo  FALBSTnurA  entreated  of  Pope  Marcel- 
Ids  Cerrinos  "  to  snspend  the  exeoation  of  bts  design  until  he  had 
heard  a  mass,  composied  in  what,  according  to  bbideas,  was  the  true 
ecclesiastical  style,  [lis  reqaest  being  granted,  the  composilioa, 
in  six  parts,  was  pertbrmed  at  Easter,  1555,  before  the  Pope  and  Col- 
lege of  Cardinals ;  who  found  it  so  grave,  noble,  elegant,  learned, 
and  pleasing,  that  music  was  restored  to  favour,  and  ngain  established 
in  (he  celebration  of  sacred  riles.  Tliis  mass  ivus  aftcrwarils  printed, 
and  dedicated  to  the  successor  of  Marcellus,  Pope  Paul  IV.  by 
whom  Paleskina  was  apptunted  Bf  aestro  di  CapeUa  to  tbe  Pontifical 
Chapel.*" 

■  The  rrieiidsofChoral  Music  nil!  doubtless  bo  cuiious  to  have  a  fiulhTuI  aoif. 
minute  account  of  a  composition  which  bad  Buffideiit  power  to  pri.'ECr?e  their 
I'&rourite  art  from  disgrace  and  exconiiuanication ;  and  liaving  before  me  au 
curilK  score  of  it,  which  St^or  Suularelli  himself  procured  for  me  out  of  tlie 


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86 


HOZAXT'S  MAHU. 


lathiiqaotationfcoDi  Dr.  Burney,  -wt  majadJ,  u  illuili-aliiif  hii 
notions,  the  fen  senlencei  foUoiriiig : — 

"Palbstriha  haviogbroD^t  faia  itjieloiiicb  periection,  that  die 
bat  compositioni  which  have  been  produced  for  (he  church  liace  fail 
time  are  proTerblall;  BRidtabeidlaPaleilniu,  itaeenuasif  thiawere 
the  place  to  discuu  its  merit- 
Though  good  taste  has  banished  fugue,  canon,  and  elaborate  com- 
positions frum  ilramatic  music,  yet  sound  jadgmenl  has  still  letained 
them  in  llic  church ;  to  wliicti.  Iron)  tl;e  little  use  that  is  made  of 
[hem  elsewhere,  Ihey  arc  now  in  a  manner  appropriated.  On  this 
(iccouiil,  like;  the  Ciiiilo-J'f.rmo  ol  (he  ilomish  service,  however  one 
chanl  may  rfstaible  aiiotlier,  niiJ  the  subject  anJ  moJlilatioa  of 
fu^'iios  may  I)c  stolen,  yet  liu-y  will  still  be  in  the  style  of  cho- 
ral music,  and  uiiver  iiwakfn  ideas  of  secuhir  songs  or  prolane  trans- 
actions, as  they  will  at  leasfbe  grave  and  decorous,  il  not  learned  and 

In  another  part  of  his  history  the  Doctor  says — "  In  the  fifteenth 
century  almost  every  mass  was  composed  upon  the  subject  of  some 
well  known  song  or  ballad ;  but  these  airs  bang  psalmodic,  and  lit- 
tle more  lively  or  varied  than  canto  fermo,  admitted  ofnogre^ei 
variety  of  modulation  than  theaadent  chants  of  the  cbnich,  opoa 
fragnKnts  of  which,  during  the  sixteenth  and  part  of  (he  seventeenth 
centuries,  it  was  thought  necessary  to  conitmct  the  chief  port  of 
choral  music.' 

The  chnrch  style  of  composition  was,  however,  much  altered  dur- 
ing the  last  century,  nut  only  by  the  imitation  of  dramatic  music, 
and  the  introduction  of  instruments,  but  by  writing  in  transposed 
keys,  nnd  supplying  the  deficiencies  in  the  scales,  which  too  strict  an 
adherence  to  thcupccics  of  octave,  and  modes  of  the  chnrch,  had  oc- 
casioned. Intlecil,  before  tliia  lime,  there  was  no  decision  of  keys, 
cither  in  sncrcd  or  secular  mnslc,  according  to  our  present  rules  of 
beginning  and  endmg  upon  the  chord,  major  or  minor,  of  some  de- 

Slslitir,  (:iiaiicl,wlif-re  It  h.  itiU  pcrforraH,  T  rjui  venture  to  assert,  that  it  Is  tbe 
most  liiiipli-  of  ail  I',iU'(triii.i's  nwki;  no  riiion,  inierted  fugue,  or  compll- 
cad^il  iniM^iirt"^,  li.ive  becii  altemptcil  Uirougtout  the  compositimi;  the  style  is 
graic,  the  harmonj'  pure,  and  by  its  Eicility  the  performer  and  bearer  »re 
eqaally  Mempted  from  trouble. 

*  Among  ftalisn  proTesBors,  tbe  Tailons^^  of  mntic  are  very  intelligibly 
expressed  by  the  terns  a  a^eOa,  ttglo  tecUiiailko,  ^SrHuakj-jxtao,  fiif^ 
mietrtalo,  for  the  Chnrcli. 


mozaht'b  masses.  87 

lerminate  note  of  tlic  scale.  Tbc  proliibilions  wete  so  numerous  in 
(he  writings  of  tlie  old  theorists,  ihi\t  if  the  mast  regular  modern 
composiliotis  were  tried  by  such  riilc>>  as  siibsi^lcil  nt  lljc  bf^inDirig 
of  the  last  centurj',  tlicy  would  appear  extremely  licentious.  No 
part  was  lo  be  extended  above  or  below  tbe  staff,  or  five  regular 
lines,  on  which  it  was  wtiUen;  the  comUnRtton  of  chords  was  never 
to  be  broken  by  movingloan  unrelative  harmony;  and  the  interrals 
of  the  sharp  seventh,  tbe  tritonns  or  sbarp  fourth,  false  fifth,  tbarp 
second,  and  eron  the  major  sixth,  were  prohiUled.  Indeed,  an  ex- 
cdlent  composition  might  now  be  produced,  merely  from  ancient 
dballowanccs."* 

The  Hciunce  and  learning  of  Dr.  Bumey,  not  less  than  the  entire 
devotion  of  his  mind  to  the  subject  of  music,  give  his  opinions 
great  weight  with  respect  to  (he  sljle  of  cliurcli  music.  Nor  is  tlic 
Doctor  unsuppurlevl  by  iiamcs,  if  not  ol'tqud  celi^brity,  yi-l  of  liigh 
authority,  as  well  as  by  a  sort  of  uniwrsiil  coiiscuL  ui(!j  ii'sjicct  lo 
(he  presiding  gravity  which  ought  to  prevail  in  compositions  in- 
tended for  devotional  exercises.  While  we  Jigroe  in  (lie  principle, 
fuilyand  entirely,  while  we  except  as  completely  as  any  ivrileis  wlio 
have  considered  the  subject  against  all  light  and  prophane  treatment 
of  the  ninsic  of  the  church,  there  yet  appears  to  us  (o  be  an  aliow- 
aitce  for  the  tsrioils  associations  connected  with  the  worship  and  praise 
ofthe  Creator,  u  well  as  for  the  intellectual  progression  of  ages, 
which,  perhaps,  d«nands  a  somewhat  greater  latitude  thenit  has 
been  oiutoniaiy  to  admit.  Theqnestionsfor  consideration  are— Ist, 

•  The  church  tonei  were  properly  the  eight  mmles  of  (lie  anliriils.  infro- 
trodnced  lowards  the  cud  of  the  sixth  rcntury  by  Pope  Giimii>i;'[  im  (.mh  <  > 
into  tliR  rboral  song.  Tno  centuries  before,  the  Uoiic,Pbrygi,it^,  .iiid 
Mliolydian  modes  had  been  adopted  in  the  churches  of  the  Wi  -l  i>t  lli-^unp 
AxBitosius.  Pope  GaEnonv  improtcd  (his  choral  song  by  tbo  a<icUlian  of  the 
Jlypodoric,  Hypophrygian,  Iljpoljdian,  and  Hypninixoljdian  modes,  and  cTCr 
since  the  whole  eight  modes  have  been  denomiiiati'd  church  tones.  The  first 
of  these  church  tones  is  the  Doric  mode  iti  D  ;  (he  second  15  likewise  taken 
from  the  Doric,  but  usually  transposed  in  the  (otic  G,  with  the  minor  (hlrd; 
the  third  is  said  to  be  in  E,  aiid'coiisciiuctitlj'  of  llic  I'hri^i.itL  mode— but  (he 
tone  A,  with  the  minor  third,  is  used  iti  its  stcai! :  lli--  fou.th  ii  Unreel  Plirv- 
ghui  mode,  in  E ;  tbe  fifth  should  projierly  be  iho  Lydian  mod'.',  hi  F— hut  il  m 
commonly  transposed  to  the  tone  C,  aud  treated  in  this  tone  like  the  Dorian 
mode ;  Ihc  sixth  is  (he  Lydiiui  mode,  in  F--bot  Ihe  tone  C  has  crept  into  it, 
so  fhat  like  our  ;  the  seventh  tbotild  be  tbe  Miiolydiao  mode,  in  G — bat 
it  hag  been  transposed  into  (be  time  D,  iritb  (he  major  third;  the  eighth  bthe 
Miiolydian  mode,  inU — but  wldcb  is  freqaently  treated  lllLe  the  Dorian  mode, 
Gtrmetn  Dictioaarn. 


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88 


hozabt's  uussm. 


whether  the  fmoi  of  religiotu  praise — vbether  the  eleiralion  of  reli* 
gioasjoy,  for  instance,  mft;  not  be  raised  and  exalted  by  miuleof 
a  florid  and  Ggunle  nature  i  Sd.  Whether  sucb  aSfeotioiu  maj  not 
1m  more  comidelely  roused  and  excited  through  the  instrumentality 

of  Buch  means  ;  and  lastly,  wlietlicr,  in  ttie  piescrit  <>tiLle  of  musical 
knowledge,  atlaiamciits,  aiiU  liitliits,  coiiijmiitioiis  (liUhough  they  be 
of  great  learning,  gravilj-,  imtl  altict  proiiriety,)  are  capLible  of  rab- 
ing  in  the  mind  llic  desired  cmotiuiis  at  iill To  assi-rt  tijat  il  now 
style,  which  a^dmiU  the  modern  iiniirovtnirals  in  ail  ^cnmi\[y,  ii  not 
indispentible  to  the  ends  we  seek,  nppenrs  tit  ii^  to  be  to  lunirilain, 
that  church  music  sliall  remain  slalioiiary,  wliile  every  oilier  circum- 
stnnce  of  our  nature  aud  iiabi(i  is  nriilerguin^'  change  and  modiAca- 
tion.  The  truth  seems  lo  us  to  be,  llial  a  sympathy  in  (!ic  applica- 
tion of  the  rule  that  must  obtain  here,  as  in  every  Ihiiig  submitted  to 
public  feeling,  IbateuiuMSB  is  the  test,  and  that  what  has  the  moM  be> 
neRcial  eScct  u  the  best.  At  the  time  Mozart  wrote  Uiere  gbb  be 
no  doubt  that  the  extended  aoqiuintonce  with  mnsioal  reeourae  (h* 
world  bad  attained^  demanded  not  only  graiHlcui  and  gravity, 
bat  force,  rariety,  and  beauty  of  style,  to  enpiee  the  aSactinn 
in  any  eminent  degree.  For  in  proportion  as  the  afiections  are 
oflencr  or  more  strongly  moved  on  ordinary  occasions  by  music,  a 
compcAtion  is  established  that  acts  involuntarily  upon  the  hearer; 
and  unless  the  music  ofthc  church  keeps  at  least  an  equal  progres- 
sion with  the  improvements  going  on  in  every  other  branch  of  musi- 
cal composition  and  execution,  it  must  be  ohvious,  that  its  extended 
agency  will  fail.  While  therefore  we  except  against  any  innova- 
tions thai  can  be  associated  with  unworthy  feelings,  we  can  but  ac- 
knuiilcdge  (be  necrssity  of  eiili^ling  into  the  musical  service  of  the 
church  every  piiwt'r  ol'  ilie  mi[id  tlut  tbe  art  continues  to  add  lo  its 
resources,  if  we  mean  to  give  music  any  agency  really  iKnelicint.  It 
is  however  curious  that  the  forms  of  Protestant  and  GalhoUc  worship 
allow  to  the  former  a  more  extended  employnientaf  tliese  resuarcci, 
Botwithstandiog  the  allcdged  simplicity  of  ibfomtttliau  of  the  latter; 
becanee  in  our  cathedral  service,  which  can  only  be  paralleled  with 
the  Catholic  nuuiesj  the  antbenu,  and  other  parta  that  are  mag, 
allow  of  a  wider  selection  of  sntgecti.  The  mass  is  confined  to  the 
expression  of  comparatively  few  ideas  and  emotioni^  gowrally  in* 
precatory  or  declanlory,  but  thsnlgecU  of  oar  aatbem  may  beu 
rariom  as  the  texts  which  lie  witiiin  the  choice  of  the  compuer. 


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MOZAItT'l  MASEEI.  '  89 

The  gfealcst  ubji.'ction  tlint  can  be  lakcn  to  Mascci  i«  feiicrsl  ii, 
thai.  GUlu posers  Uuw:  m  slUIiiih  con^iUcml  Ilic  nntiire  oflhewoidg, 
but  uflen  ciiiplo^L'd  tla-ni  as  U  Wic  ailaptntioii  or^aund  loseiiBe  veie 
of  no  imporUnci',  .simjily  ivitli  a  view  lo  lUc  display  of  tbe  richa  of 
nuBical  gcniat  aoii  invcnlian>  The  Mosses  of  Hatoh  in  jiBrticular 
abound  in  examples  nbich,  oo  far  from  couiidering  as  prnisemirttij', 
ire  cannot  belp  coadcmniog  as  j  astir  deserving  tho  severest  lepro- 
bation. 

Hatdn  hag  tteverlltcless  studied  the  adaptation  of  sonad  to  teiur, 
but  Ihc  musical  dcpartnient  was  tbal  apon  nbiclt  bis  mind  appears 

to  liavo  been  most  deeply  employed.  He  aimed  nt  a  new  style — at 
pieiwviiig  (lie  must  valunbie  parU  of  tbe  old  forms,  by  means  of  full 
nnil  ricii  hitrinoiiy  and  occasiuijal  fugue;  and  at  ciillvcjiing  tlicoi  by 
jjglit,  faj.,Mt„I,  iiiid  brilliant  accinipariiinenls.  To  l!ic  l.'aglish 
nalioii^l  s::ii-.e  i.f  pnipricly  Iiis  Maaies  in  i:icisl  instances  seem  lliero- 
fure  ti>  want  (lie  grand  rccomiuLiLdrLliOEi  of  accord  nilh  tlic  menning 
(ifliii;  uiiuls;  a;id  Ibi'v  miisl  b^  intensely  studied,  before  even  tbe 
r^uiiLMl  ciimiui-  v.ui  '.ii-i  in  :T  iiil  tbe  a  tifiil  contrivances  by  which 
till'  ctiiii|)()-.i;i-  li  •  S  .I!'  ii>  ( •■■.(;, iiarc  llic  taste  both  of  the  learned 
and  Ihe  ( ivi'ly,  in  I  hi'  ciiii<  (riirli'in  of  bis  harmonics,  bis  occompani- 
lacnts,  and  lii^  melodies.  We  confess  we  tliinlc  be  has  fiuled,  and 
that  be  overshadows  nnd  even  obliterates  tbe  e^cta  of  Lis  erudi- 
tion and  gravity  of  slylc  by  Ihc  extreme  daboration  of  his  inslru* 
mental  parts.  Wc  speak  of  course  of  his  Six  Manes  for  a  fall 
Orchestra.* 

•  Thu  acromnli^hc-d  Kdilor  of  The  SacrmI  Melodies,  in  a  note  biserted  in 

MIC  1,1, ^11,,, L  [  in.ii-iaiujii  1.1  1A--  L,iTe-  oi  iiinim  and  uiozart,  inus  tpcakt  of  the 
■  .  i.l  ilu-  lorni,  !-.      Ah  U,i.-.i:  cmmmsUlOM  arc  litUcknoBn  In  this  Country. 
J  [.1^.-  n;-,  ui;ilc  .l<-^,-il],ilii)i  of  11,1111         iiut  [iLThjp?  be  iinBccrptible  to  the 


The  liTsi  &Ias9.  in  B.  ii  oi  a  mild  and  piaad  cut :  erery  morenM 
nd  beantfTn). 

Tite" Gloria  ia  excrhh  Deo"  U  wrought  with  more  fin-  than 


I?,  iiiiiri!  uniiiii  iinii  iiiiinniicri. 

a  moicsHc  air.    The  "Gloria-  a  introduced 


90 


UOZART'l  MASSES. 


Mozart  nas  contcmpurarj  trilli  this  ^rcat  maa.  .  It  viW  I>e  , 
natural,  therefore,  ta  expect  liic  coinciijing  charactcnslica  of  the 
tame  ago;  and  as  Mozaht  died  youn^,  and  wrote  nt  a  vcrj  early 
period  of  liU  life,  it  m&y  lie  not  less  anticipated  (hat  his  imagination 
sbouldezbibitthefervonoffoiith,  too  often  attracted  and  altadied 
bytbe  tiglitec  ipIeiKtoiB  which  seem  necestary  to  mttun  the  ngoiaut 
Stacy  and  buoyant  spirit  of  Ibat  time.  We  say  tbese  are  nataral 
anticipations.  We  sliall,  liowercr,  proceed  to  the  separate  cxamina- 
lion  of  the  several  compositions,  and  leave  all  our  gcnend  deductions 
to  conclude  our  review. 

Tlic  first  mass  (in  C.)  opens  in  simple  majesty,  and  the  awlul 
word  K/jrii:  is  not  only  lliiis  cxprc!>Eed,but  a  solemn  and  a  sad  effect 
is  pro:liic(;d  hy  llie  muiliil  ilinn,  through  the  introduction  of  the  acci- 
di'iitids  npoii  the  ncceiilcd  pari  of  the  bars  in  the  bass.  One  of  tlie  cir. 
cUTn-stantTS  thiit  moit  rovults  inir  rrolfsliinl  notions  of  prujiriely,  is 
thn  (lorid  character  given  (o  llu;  words  Kijiic  fhisnn  (IaitiI  hme. 
mtTci/  upon  us),  and  from  this  fiinit  (c;ii  rii-d  to  its  very  extremity  by 
Hatsh^Mozabt  is  not  exempt.  In  this  first  instance,  a  figurate 
solo  continnet  tbis  noble  opening,  which  but  for  (lie  judicious  har- 
mtmies  would  entirely  lower  its  high  tone.  To  this  danger  bowerer 
the  GOiapoKr  appears  to  be  alive ;  foi  he  rctunu  immediately  to  ha 
magnificent  comnencement*  constructing  new  upper,  parts  upon 
nearly  the  same  boss,  bnt  Ihns  adding  variety  to  its  other  attributes. 
The  Gloria  rises  in  animation,  while  its  grandeur  is  increased  by  the 
Bimplicily.  The  iteration  in  the  bass  upon  tiic  word  tniscrcre  is  a  fine 
expedient  for  the  production  of  sadness,  and  the  close  of  (lie  Amen 
is  remarkable  for  the  force  which  the  two  lower  parts  bestow,  thongh 
merely  by  means  of  the  lulervals  of  the  common  chord,  echoed  as 
they  are  by  the  two  apper. 

by  the  major  key  in  great  Epiendor;  and  the  soft  fioning  stream  of  melody 
which  proceeds  from  the  vitdins,  prepuex  us  far  the  u  ortis  "  El  in  terra  pax." 
In  (lie  "Creilo"  a  close  cannn  of  two  choirs, arconipanii'd  Lylhe  orclieslra,  (lie 
author  has  employed  the  ancient  style  which  Id  his  bands  becomes  doubly  iu- 
tcfpsting,  the  beaudes  of  the  old  school  ire  displayed  without  its  deformililss. 

No.  4,  in  B,  con(unSB<HnebMa(i(iil  qntrtettos  and  fine  fognes. 

No.  5,  in  C,  is  of  a  grand  cost;  and  is  the  only  one  [d  which  a  song  I* 
intro<luccd. 

No.0,  in  B,  opens  in  a  molt  imprest  Bt^e,  iDtmpntedwIth  sdoi,  wHeh 
agreeibly  reliere  the  ear.  The  "  In  gloria  Dei  patrb,"  the  "  El  incanuHa*^ 
tad  the  "  "  &nedUto,"  are  all  excellent;  and  the  last  chorus,  "  Dona  nobb 
paean,"  \a  a  combinalioB  of  beanty  and  iubllnu(y  that  iiiU  lately  be  sn^uaed. 


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hozart'i  masses.  91 

Wc  encounter  ttie  same  prcjuiliccji  (we  are  conlenl  so  to  call  Lliem) 
in  the  Credo,-  to  which  solemn  dcclaralory  expusilimi  of  t'ailli,  il 
nppcats  to  us,  Catholic  wrilcrs  arc  too  liiihle  lo  append  more  <if  lliiriil 
compoeition  than  the  sense  wit!  bear.  Tliis  passage  is  not  perhups 
BO  psrticularly  obaoxious  to  this  remark  ai  many  otbers;  but  as  at 
tbe  outset  ve  must  necessarll;  take  more  particular  cognizance  of 
Ibe  Kwenl  portions  into  which  the  Hasi  b  divided  (ban  in  our 
^lure  notices,  we  here  submit  those  remarks  vbich  appertain  to  the 
lubject.  Upon  (he  word  ducoidnl  tlieverjnaturalanalogyafdescend' 
ing  notes  is  verj  beaulirutiy  adopted,  and  wc  notice  it  the  more  be- 
cause the  sn  me  passnge  is  with  Uic  hnppi est  effect  reproduced  upon  the 
Amen.  The  adagio  upon  El  iiicarnatiis  inlcrmpls  the  ordinarj  train 
of  feelings  into  whicli  wc  iiad  begun  lo  relax.  The  modulation  is 
singularly  fine  and  solemn  ;  and  tlic  Samlm  which  fiiUows  is  siipctb 
in  ilsclf,  but  exalled  in  effect  liy  the  inlcrsperscd  strains  of  Homima 
in  excflsb.  This  contrast  reaches  its  pilch,  afler  thcsireot  and  sooth- 
ing lienr-dictus.  The  sustaining  notes  in  the  bass  aud  treble,  in  the 
hcgiiiinng,  arc  paiiictilarly  expressive. 

TlJC  j^^'iiiv  Dii  is  remarkable  ns  apparently  alfording  the  germ  of 
the  iileas  developed  in  the  opeiiiiig  of  the  enchanting  song  "ZJoce 
tmo,"  in  (he  opera  of  fj^oro;  tbe  passage  being  the  same,  except 
Ibat  (he  one  is  in  (he  other  in  \  time.  We  shall  have  occasion 
kenceforlh  to  point  out  several  similar  eleraenlary  passages,  that, 
like  (be  use  ofsbort  itrong  words  or  phrases  wherein  a  writer  is  apt 
to  expieu  similar  sentiments,  form  (he  (est  by  wbicli  style  is 
iVGogntEed. 

The  quartelt  and  chorus,  Dona  aobit  pocemi  is  made  up  of  elegant 
and  vivid  passages  ;  and  its  fault  it,  (bat  it  is  more  spirited  and 
powerful  than  the  sentiment  Justifies. 

If  the  second  Mass  {in  C.)  possesses  not  so  many  striking  points, 
there  is  yet  a  general  elegance  nnd  beauty  which  Ihroiys  the  soft 
light  of  delicacy,  refinement,  and  melancholy  sireclncss,  over  the 
nholc ;  yet  it  is  not  without  pns.sagcs  of  peculiar  expression.  Wc 
may  instance  the  fine  solcninily  of  I'i/iiis  piihi!,  in  tlic  lo\vrr  sliiiF 
of  page  G,  and,the  succeeding  ;U/3i;jTiv.'  oi  (hi;  Et  iiiccmiali't^,  ivhicfi 
as  music  is  exquisite — the  great  varieties  of  harmony  iti  the  Cruet' 
fixu3 — the  animation  of  the  Ilosanna — the  lugubrious  effect  upon 
the  word  peccata  in  the  Agnut  Dei  (page  28),  and  tlie  melody  of  the 
little  solos  interspersed  throughout.  We  think  portions  of  the  ruilU 
X  S 


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92 


HOZABT'S  UiSBES. 


mcnta  of  Ibc  Benedktut  of  the  Requiem*  ma;  be  .traced  to  the  Bene 
dictiu  of  this  MasS)  where  a  possage  cxacll;  similar  to  the  A^ui 
Dei  of  No.  I,  alto  appears.  Tliese  are  curious  analogiea  only  as 
the;  seem  to  shew  (he  uniformity  of  sentiment  and  feeling  with 
whicli  Mozart  rcgardi:d  tlicsc  words  of  (he  Mms.  The  expression 
of  the  Dona  nobis  paccm,  (liough  according  ivilh  lltc  common  ele- 
gance of  the  whole,  is  yet  of  a  species  foo  liglit  ami  mirlhfal  to  hit 
the  lempcr  in  which  we  conceive  Iliis  prayer  li)  be  iil(eri.ii. 

The  third  Mass  is  in  F,  and  be-ins  will,  ii  iroble  .ir-:,ri  siiI,j.;i;K  nf 
the  slyleofan  older  dale,  wliicli  is  finely  »tuii:.-lit  iriio  lli.-Z/y,;;  .  ajid 
appears  in  the  voice  part  and  uccompaniinenls  wilb  cunsuniriiale 
musical  cllVct — but  not,  however,  without  siibniiUiiig  Ibe  vucul  part 
of  the  service  to  our  former  objection  as  to  tlie  levity  of  its  expres- 
sion. "  The  energy  of  orlfui  song,"  as  the  poetry  of  the  celolirateil 
glee  has  it,  is  here  seen  "  to  wanton  in  the  wiles  of  sniinil.''  'I'lii.s 
entire  Mass  is  however  more  choral  and  ecclesiastical  llian  r\\\\n  ul' 
the  former;  it  abounds  in  learned  themes  elaborately  worked  upon, 
and  their  casual  appearance  in  portions  or  in  various  shapes  makes 
the  consimunate  art  of  the  design  every  where  manifest.  It  is  a  per* 
formance  to  be  closely  and  long  studied. 

We  remark  that  in  the  Credo,  nt  page  14,  our  composer  has  intro- 
duced the  air  of  IIan-dei.'s  "  l\uhrr  of  Ifrnvcn,"  (Jud.  Mac.)  wtiicli 
is  also  the  subject  of  Sluastjam  ISACir's  ^'rand  fugue  in  f.mr 
sharps.  This  la  obviously  a  favourite  with  Mozabt,  as  he  has  used 
it  in  the  Sanctus  of  Mass  9,  and  as  one  of  the  four  subjects  which 
form  the  ground-work  of  the  Incomparable  finnlc  to  his  Jupilrr  sin- 
fonic.  Among  the  general  clli.'cts  to  he  observed  in  this  Mass,  we 
would  point  out  how  tiiiply  suddon  aiid  short  changes  of  Ihe  lime 
are  interspersed  ;  particularly  on  the  word  "  mortuoruni,''  page  21, 
and  at  the  close  of  the  Beiiediclus,  page  25.  The  Agnus  Dei  is 
exquisite,  both  in  the  melody  of  its  solos,  the  harmonics  of  its  full 
parts,  and  (be  delightfully  soothing  variety  of  the  accompaniment. 
The  character  of  the  Dona  is  very  sweet  and  simple,  but  still  we 
thiok  too  light  for  the  divinely  serene  nature  of  the  tranquillity  for 
which  Chtistiaas  ate  taught  to  pray. 

The  fourth  is  the  least  distingabhed  of  any  we  have  yet  Inspected, 
but  it  is  not  absolnteljr  wUboDt  characteristic!  of  the  great  mnslcian. 

>  Haydn's  SdMus,  page  63,  aba  eshibiti  ft  triflh^resemblaiGe. 


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uozaht's  masses. 


93 


Among  them  is  tlie  fine  expression  given  to  the  word  "  Ci  ucifixus," 
whicli  is  taken  by  the  bats  t\ng\y  in  the  El  imamaltu,  and  rises  foor 
times  in  sncccssion  hy  a  seraitone*  Tlie  Crab.md  the  Et  RtmrrexU 
arecoiutTiicled  njion  a  fine  Bond  bass.  The  Sanclus  issimplysolemn, 
The  Benalicliu  is  cariuusljr  and  somevhftt  qnaintl;  tct  off  by  an  ac- 
Gompiuiiment  of  triplet^  and  the  Dona  nobis  nnitcs  elegance  with  an 
expression  nearer  ta  our  ideas  of  the  trnth  than  tlic  same  wovds  in 
(he  farmer  Masses  convey. 

Tlie  opening  piirlsof  llic  in  Miccj-tiiii,  ;ue  t  .slricllj  <;lnir:il 
fliari  usual,  and  Ilie  sirurlitra  of  llic  Im-.i-i,  s.i,in>t!;in  -  (di.y.i'^h  Cir 
short  of  Ihe  uia;;ni licence)  ia  liic  maruicr  of  muiii:  uf  !1  .i.s  u!:i.'.s  Wt^mi 
music.  There  is  a  curious  ciMiicideiicir  belwfcii  llii;  Ihsl  niiir's  uf  I  In: 
Kr/rie  acid  liic  March  in  the  Zauberflote,  llie  im-loily  and  lii.^  har- 
inony  bclnj;  almos!  nofc  for  nole  the  samf,  (;illoiving  fur  cliaii^'c  i>f 
kev,)  yel  they  are  ivri(U-ii  in  a  very  different  spirit,  and  the  ell'ecls 
l)roduccd  by  file  sc|jaraii;  jKib-.iges  are  very  dissimilar.  This  is  a 
singular  illiislration  of  Ihc  fact,  that  the  same  succession  of  sounds  is 
capable  of  raising  totally  diiTercnt  emotions — which  sccras,  we  think, 
ta  prove  that  it  b  not  so  much  the  intriasic  nature  of  interval*  as  the 
accessory  qaalilies  of  loudness  and  softness,  velocity,  and  distinctness 
that  move  tlie  affections ;  and  in  seeking  the  cause,  vre  should  allri- 
bnte  it  rather  to  tbo  strength  of  the  analogies  and  associations  pre- 
dominating over  the  physical  results  of  any  natural  perception  of 
!^ounds  to  wliich  no  dcfiniu  idea  is  alExcd,  except  from  their  conibina- 
tioti  ivith  ^vords.  Willi  this  exception,  we  find  little  to  remind  us  of 
llie  genius  of  Mo/ AUT,  lill  the  melody  of  tlic  Bencdictus  recalls  to  us 
Ilia  peculiar  grace  and  suuvily.  Il  is  curious  llial  IlnssLNi  has  pre- 
cisely lliisp:i£s;ig(;  in  llii;  opi-iiiri;;  of  liii  d;;!:!  ''-Mi^lc  iogpiri  c.  lagrwie," 
in  the  opera  ai^'-  L'Jiii  elhi,:o  bi  PJ,:hjui.  'i'lii'  _1/i'>L-ra-c  parlakesof 
Ihesauiu  olcgancf,  hut  the  Demi  dcgi'ueriid's  iiilo  the  usual  faulty 
siibatitulion  of  joj/  fi>r  n/igious  peace, — Tlicy  are  not  synoniraous. 

Tlic  diitinguishiug  parts  of  No.  G  are  the  Sanclus,  (particnlarly 
fine)  the  Utntdtdus,  nud  the  Jgniis  Dei.  This  last,  in  the  key  of  B 
minor,  ha&a  solemn  pathos  and  depth  of  feeling  which  almost  per- 
suade US  to  prefer  it  to  all  its  predecessors.  The  Dttm  is  of  a  raore 
mixed  character  than  heretofore,  softening  but  not  oblitenting  the 
loo  commoD  objection. 

The  seventh  Mass  is  in  a  more  grave  and  noble  style  than  any  of 
Ihefbimer.  The  Syrie  opeu  with  a  short  symphony,  in  irhich  the 


94 


■OZim'a  KAHBI. 


marked  iteiationof  the  key  noteintbebui  bestovrsso  lolemo  yet  to 
perfect  an  exproaion-  ThU  is  contintied  throogh  live  successive 
ban,  the  lugnbrions  effect  being  bcigblened  bj  the  introduction  of 
the  flat  seventh  on  the  vaj  first  chord.  The  soprano  begins  the 
Tolce  )>arta  bj  a  snslained  repetilion  oP  tbe  key  note,  vhlle  the 
inner  purls  have  Bsmooth  and  flowing  descent  Thebassansvereby 
a  snslained  bar  on  the  subdoininant,  the  first  note  of  the  treble.  The 
wliolc  is  simply  but  expressively  wrought,  and  more  in  Ihe  spirit  of 
prayer  llinn  any  of  the  other  Kyries.  The  gcncrnl  slylc  of  tlip  suc- 
ceeding pnrls  is  choral,  but  the  grandeur  is  softened  by  Ihe  elpgnnce 
of  the  iiicIniHcs  nnil  intrrvcniiig  rilomels,  ivliich  are  however  by  no 
Tiif,iiis  rcJuniluiit.  The  liarnwnii?s  and  Tno[iLil;ition  of  theEf  i,iciir,mh,i 
arerxcei=ively  rich  and  singular.  Wi;iyoulil  pntliculiirly  pointoutthe 
very  line  transition  upon  llic  words  Homo,  alllie  boltoin  of  pnge  12, 
and  the  entire  succession  of  the  liarnionicstil!  (he  composer  returns  lo 
Ihe  original  key,  almost  at  (lie  ciuse,  (acpujiiis  csl,)  rendered  expres- 
sive by  concluding  nith  the  tenor  and  bass,  thus  dropping  the  brilliant 
efiect  of  tbe  higher  voices.  This  leads  ns  to  observe  the  almost  uni- 
form retardation  of  tbe  tbne  and  depienlon  of  tiie  voices  upon  tbe 
iTord  snortuofum  in  every  mass.  Mozaet  thus  nviuU  him»df  of  Ike 
analogies  by  vhich  "tbe  cold  obstmctioii"  of  the  grave  may  be  best 
imaged.  There  ii  no  general  expedient  employed  with  such  certain 
efiect.  The  El  imamatm  of  this  Mass  is  at  once  simple,  elegant,  and 
solemn.  The  Bcncdkliis  loo,  contrary  lo  the  liabilual  tone  of  think- 
ing discernible  in  the  composer's  general  method  of  selling  lliese 
words,  is  grave — consisting  of  very  lillle  beyond  tlic  plainest  counler- 
poinl.  Tlic  }hma  iiohk  resumes  Ihe  oprning  subject  of  the  Kyric, 
and  clones  (lie  nork  as  it  began,  with  dignity,  sweetness,  and  solemn 
grac..A,l,u.s,. 

The  nest  in  order  is  a  Missa  Brevi=,  or  sliort  Mass  for  tlie  IMirmr 
Festivals.  It  is  the  opinion  of  Ihn.M'  nu-,~i  (  MTiv.T  iuit  iviili  Wn:  ivri- 
tings  of  Mozart,  lliatltib  is  to  be  <.=lcLJL,rd  <w.  ollii.',  iviily  piodnc. 
tions.  It  certainly  affords  a  fair  specimen  of  the  manner  in  wliich 
polished  refinement  may  becorobmcd  vtth  simplicity,  TheBenecSdta 
particularlj  illnstratea  this  remark.  Intbismassraajbefoandmore 
of  what  may  be  considered  as  thegermsof  those  musical  ideas  vrbick 
he  flflerwanls  dilated  into  socb  rich  expansion  in  bis  operas.  There 
is  n  passage  in  the  Sanetus,  page  IS,  lower  staff,  upon  the  word 
Gloria,  ivhicb  Eceins  to  exbitnt  tbe  embiioofone  in  the  besntifiil 


hokart's  masses. 


.95 


iir"DMe  Sono"  suiigbj  the  Coulessa,  in  FSgard.  The  condadiDg 
melodj'  and  harmonica  singularly  marked  by  the  motion  of  tlie  inner 
par(B  of  the  accompaniment,  irill  befoand  upon  the  words  dicangiar, 
on  Ihcir  second  repetition,  after  una  speraii^a,  townrJs  the  close  of  [he 
song.  The  same  song  bears  also  a  part,  mi  porlasfe  una  sperannn, 
(where  these  words  first  occur,)  ivhicU  mny  probably  hnvo  been 
derived  from  th:it  in  the  midille  stave  nf  jwce  1.'!,  upon  ihe  word 
Ilcummi.  'inipse  instances  will  ninml  malcriiils  im  llie-i:  ^.I,..  love 
to  trace  ont  llii'  iiri^'in  of  ideas,  and  indwil  in  llicsc  iii;i!;:,i's  (licre 
appears  to  us  to  bo  much  that  not  only  MozAnx  himself  afiornards 
developed,  but  far  more  that  has  given  the  first  elements  of  their  com- 
positions to  a  large  proportbn  of  modem  muilcal  writers  in  various 
styles.  Indeed  it  is  impossible  that  incessantly  studied  and  placed 
before  the  whole  world  of  compesers  as  models  since  their  works 
^reri!  known  as  Handel,  Hatsn,  and  Mozart  hare  been»  it  is  im- 
possible, we  say,  that  to  Ihera  should  not  be  assignable  the  terms  in. 
which  the  aAer-thoughta  of  the  later  race  of  musicians  have  been 
convejed. 

The  ninth  (a  missa  brevis  also)  we  should  conceive  to  be  the  work 
even  perhaps  of  an  earlier  date  than  the  eighth,  because  it  exhibits 
so  few  marks  of  tlic  poncr  as  well  as  the  desire  of  elaboration,  which 
grows  with  the  acqiiisilion  of  \\ia  means.  There  is  less  indeed  (o 
remark  about  this  Muss  th;\n  any  we  hivvo  yet  met.  It  is  ofa  mixed 
character,  neither  grave  nor  liglit.  It  ^'ives  great  scope  to  the  tenor, 
who  is  solo  ilitoin;li  a  great  iiortinn  nf  flic  « liule. 

The  tenth  Mass  is  in  parts  especially,  amon;,'St  the  most  fanciful 
and  elegant  of  his  compositions,  though  perhaps  from  its  being  h\ss 
in  uci  ecclesiastical  style,  it  demands  moreliberality  ia  the  critic.  The 
K^rie  appears  to  us  very  obnoxious  to  this  censure,  fur  ils  levity 
borders  on  ralgarity.  The  adagio,  Et  incamatut  is  very  impres- 
siTe.  The  Bemdiclta,  &  solo  for  the  soprano,  is  remarkable  ibr, 
the  elegance  of  its  melody,  and  the  Jgnus  Da  for  its  bold  transi- 
tions, and  tnaslerlj  harmonies.  The  Dona  nobis  is  very  original^ 
and  if  execiited  with  the  exquisite  delicacy  which  shines  in  its  con- 
ception, is  truly  iiuclnating.  The  motivo  is  beautifully  simple,  and 
is  wrougbl  up  and  diversified  with  admirable  skill.  This  movement 
was  probably  a  favorite  air  with  the  composer  himself,  if  we  may 
found  Euch  a  conjecture  upon  the  common  marks  of  favoritism,  the 
time  lie  dwells upou  it— the  lepclilions,  the  iuexhaustiblc  fancy  with 


1)6 


wliicli  liciins  Irsali^il  it  IhrougUouL  tlic  various  mod ulali on,  au6  Uie 
obvious  reluclance  nith  nbiob  lie  rdinquiBlics  it  for  the  coda  (ander 
tbc  form  of  apedal  point)  v!th\Thich  it  terminates.  We  caation  the 
examiner,  bowever  concerning  the  mode  of  execation,  for  tbis  scein* 
to  U8  one  of  those  things  vhicb  maj  easily  be  rained  by  an  injudl- 
cioQB  perfonnance.  It  requires  tlie  utmost  ddicacy  and  proprielj, 
both  in  the  time,  degree  of  force,  and  entire  manner.  Tliere  is  a 
passage  of  a  bar  or  two,  note  for  [lolcilm  same  \nlh  one  in  liie  air  of 
"  The  marvdhus  t.ork"  in  IIay-dn's  CmUi-n. 

The  ncsl  is  also  one  of  llie  sitpcriorsj  bolli  in  11  le  general  design 
and  in  tbc  of  it-,  exigent ioi:.    Tfi(^  K,/rk  Junl  Gf.nin  arc  nioii! 

bold,  but  ill  llioMuin;lii;n:iin-[V  gtiivi;  iiiul  l.i,i^Miilici.-iit  tliai,  usual. 
Tiic  Sanctiis  liiis  a  full  solwnuilv,  iuul  llii^  ^inU  call  ct  Una:, 

animates  by  its  noble  siniplicily  not  L'ss  lliaa  by  its  spirit  niiil  force. 
The  Agnus  Dei  is  ul  once  grateful  ;iud  iiili^cliiig— lln>  beauty  oftlic 
melody  leaver  tlic  first  (rain  of  i;iiiuiiuiis  in  tlie  mind,  ajiil  llie  har- 
mony the  last.  Thu  transition  from  D  minor,  thruugli  B  flat  major, 
to  the  key  of  F,  is  particularly  cfleclive.  We  reckon  this  amongst 
the  most  sliiluog  of  the  Itlasscs.  In  it  is  to  be  found  another  resem- 
blance, if  not  the  origin,  of  one  of  his  other  works.  It  is  the  pastsage 
in  the  fourth  bar  of  page  32^  wliicli  is  very  like  thai  trbicb  forms  a 
conspicuous  feature  in  one  of  bis  most  masterly  sonatas ;  in  tbe  finale 
see  tbe  Cahiers. 

Tbc  twelfth  Mass  is  a  composition  to  descend  (o  the  latest  posteri' 
ly,  and  bail  Mozart  writlvii  iiotbing  but  this  or  even  parts  of  it 
alone,  bis  name  ivoidd  have  been  immortalised  amongst  musicians.  It 
commences  in  G,  h:d  in  the  course  of  its  variuiis  inuveinenis  exlenil- 
ingthrougb  7j  |i  lifs,  it  ndnpli  Ilie  several  keys  to  wLieh  belong 
tliose  partieiilar  aiial(ij,'ies  and  ellcets  llie  Ciimiiojcr  appo.its  to  have 
sought  lo  olilani  m  illi  llie  in„s(  sediibiis  cat,-,  as  iwll  as  under  a  feel- 

tiiin.  -Vlcveiy  Mqi  iji  our  jirogress  tlirony;li  Uiis  arlielu  «i:  liilve  felt 
the  increasing  ditlicully  olUoingcvcn  partial  and  incomplelc Justice  to 
such  a  work  as  Mb.  Notbllo  has  presented  to  the  norld,  and  the 
study  of  this  Mass  ovenrhelms  ns  nith  the  .conviction  of  our  own 
insufficiency,  as  well  as  that  of  the  limits  by  which  we  are  confined. 

The  Kyrie  unites  grandeur,  solemnity,  eloquence,  and  pathos  in 
a  manner  .nnexarajded.  From  a  portion  of  tbc  accompaniment,  the 
conclusion  of  the'  sixth  bar  of  the  middle  stare  of  page  3,  (a  passage 


97 


■ontiaually  fKuniag,)  WiKTSBKCDiito  ban  bonownl  ooeof  tb< 
■HMt  «xpre»ive  adaptaUaiia,  of  nhidi  be  appean  to  be  equalljr  fbnd, 
ia  ihe  dml Fieo  per  le,"  in  his  TrwHfadeir  dtnorejralerao.'* 
TbcK  retemblnnces,  if  ihe  eSecU  of  dcsiga^  mauifnt  how  mnch 
the  world  owes  (o  Mozart,  or  if  onlj'  casual,  haw  much  his  geniua 
bu  anlicipateJ. 

The  Gloria  opens  most  magniQccntlj  in  unison  with  Ihc  notes  uf 
thecoromon  chord  ofC  in  succession  ([hough  of  unequal  times),  irith 
a  1  rum  pel  accompaniment.  W'ccan  conceive  nothing  more  ppkndid 
ar  ronrc  simple  al  once.  Tltc  Qui  tollii  which  sitcoi.'cde,  i$i  not  ic^i 
original  tliaii  heautifiil  in  its  melody  and  acconipntiimenl.  Tlie 
riling  of  the  b^ss  bjr  semitones  tepealeil  tlirou^-h  llii- .UfVtrcj  t,  and 
again  resorted  lo,  though  witli  a  di&rencc  i[i  tlic  l'<)licl^viiIg  Suscipe, 
liai  a  prodigiously  Gno  wailing  effect.  This  is  a  frequent  expedient 
with  Mozart,  who  has  availed  himself  mnch  of  it  throughout.  It 
appears  again  in  the  Credo.  The  oable  fugue  at  the  end  of  the  Gloria 
closes  Ihii  part  of  (he  service  with  a  vigour  which  all  may  feel,  but  none 
empttbote  whom  nmsioalemditioti  anablei  to  judge  as  well  as  feel, 
caa  duly  appncEate.  It  b  indeed  agiorioni  composition.  Tho  El 
iKamaUu  it  exquiiile.  The  flow  of  the  melody  is  so  graceful — tha 
am  won  are  lo  &ie^  made  in  the  Kmal  parti,'  and  Ibe  wh<de  u 
M  divinely  pathetic  u  well  ai  ainiple,  thdl  we  thoi^bl  it  couU  not 
be  exceeded,  till  we  arrived  at  the  BenaSeltu.  We  do  not  howev«i 
purpose  to  let  this  carry  us  past  the  noble  El  resurrexil,  raised  lo  a 
dogree  of  almost  unequalled  splendour  by  tlie  florid  bass  which  give* 
luch  force,  dignity,  and  lire  to  this  grand  movement.  Again,  we  must- 
recount  the  clTect  of  simplicity  in  the  Sanetat,  which  in  the  close 
thrills  every  nerve,  and  the  energy  this  quality  imparts  lo  the  words 
Plem  sunt  cfrii,  &c. 

For  (he  Benedidut  we  have  no  lanf^iiage  that  can  adequately  con- 
.vey  our  sense  of  its  various  pcrficiiuns.  Impressed  as  we  are  by  a 
thorough  and  lon^  acquaint  mice  with  the  Uenedktm  of  the  Hequieni, 
we  cannot  help  assigjiing  ti>  lliis  of  the  ISth  Mas*  a  superior  place, 
lb  which  we  think  it  is  entitled  by  Die  solos,  by  the  cliarm  of  the 
accompaniment,  by  tlie  variety,  beauty,  and  inexhautible  iavention 
and  art  displayed  through  the  entire  and  protracted  whole.  The 
accompaniment,  whether  we  regard  the  stnictute  of  tbe  bau  or  of 
the  npper  parts,  upon  wbidi  the  compoaer  alternately  delighls  to  ' 
n^ibit  hii  power,  affords  the  mort  aitonubing  prooh,  not  only  of  ' 

VOL.  III.  XO.  IX>  S 


I 

9S 


HOZART'i  MlggEI. 


ifliajriintioat  bat  of  tiic  most  polished  judgment.  And  bore  we  can- 
not dcTer'to  notice  ttie  consiunniate  akill  with  which  Ub.  Notsllo 
hu  managed  the  difficult  task  of  smngement. — II  wa*  oar  iDteation 
t*  have  reserved  all  coninioaU  upon  this  department  of  the  work  for 
the  last  place — but  prnisi.-,  not  premalure,  is  here  uslorteJ  from  us. 
The  Editor,  erudite  alike  in  the  theory  and  practice,  has  mailc  liis 
adaptation  as  full,  rich,  and  Tarioiu  as  possible,  embracing  all  (he 
vfiecls ;  and  though  probably  intcndiag  bis  anaogenent  for  the 
more  accomplishNl  class  of  performers,  yet  scarcely  any  of  the  pas- 
sages will  be  found,  after  (Lc  necessary  practioe,  to  be  too  difficult 
ibi  the  generality  of  accompanists. 

We  wish  that  our  review  of  this  Mass  could  close  hero.  "  Set' 
Naples  and  die,"  say  traveller.  If  we  should  still  tlesire  lo  live, 
and  hear  the  BataStiut  again  and  again,  we  may  yel  wish  Ibc  Dona 
Kobit  had  never  been  written,  or  rather,  not  to  elaborately  wrought. 
Pa^l*  of  it,  the  oanclauon  particnlarlj,  are  loolliing  and  delightful — 
but  the  middle  of  Ike  'moraunt  u  worked  too  much  in  the  man- 
netbiBoftbe  clonof  an  omtnra;  indeed  titcycannat&il  Id  convey 
the  belief  that  Mosabi  wiote  ai  if  he  were  working  up  a  conclusion, 
without  sufficiently  attending  to  the  nature  of  the  terminntion,  not 
lllliiig  it  lo  tbc  composition  in  its  general  style  and  its  particular 
adaptation  to  the  words.  Wc  regret  Ibis,  as  wc  eUecm  it,  Linfortunata 
intcrspersion  of  a  mere  ctmiinan-place  train  of  perceptions,  liecauM; 
it  irritates,  and  so  in  some  degree  oblileralca  the  satisfaction  which 
every  note  of  the  former  part  itispiresjand  impressively  inspires,  from 
the  fiist  chord  of  Ibef^n'c  lo  the  last  of  the  Bet/ediclas.  We  .almost ' 
wish  Mr.  Novbllo  had,  with  a  judicious  darii)g,expiingeil  the  mid- 
dle part  of  (he  Dona,  and  our  delight,  we  might  say  our  raptures, 
would  have  been  as  perfect  as  intense. 

We  cannot  quit  this  Mass  without  pointing  out  what  every  body 
will  discover,  the  inlroduelidn  of  the  iipening  of  the  minuet  of Don 
Ciocaitni.  It  occurs  iii  tlie  ninth  b:ir  of  page  49,  and  is  afterwards 
rq>eated. — The  minuet  is  one  of  the  most  elaborate  and  ingenious 
things Maxabi  everwiotoi  fiw  while  (he  vocal  parts  takediSerrat 
melodiea,  admirably  adapted  to  the  chancten  to  whidi  they-  are 
given,  be  hu  contrived  that  three  diffirent  orcheatras  shall  all  be 
performing  togetber,. but  indi&brent  measares,  vix.  oneIn{,oneinJ, 
and  another  ia  ^}  one  phijdng  a  minuet,  (he  second  a  counlrj-  daoce, 
and  the  thbd  amlts,  balall  so  ikiUiilly  combined,  that  these  appa- 


Digiiized  by  Google 


MOZiVt's  MASSES. 


f)9 


renily  inconipnliblc  movemenis  do  not  nl  all  iiilcrfi"!*  iritfi  rnch 

There  is  inlcrna!  evidciicc  to  ^\ippnrl  tlii-  supposition  entertained 
Uy  very  competent  jiidyics,  (hat  t)w  Kyiif  and  Glurii'  >v!:icli  enpiKli. 

parts  of  llic  M;iss  for  parlicular  occaBions,  mid  (o  divide  Uic  in;(,T 
iiilu  detached  solus,  ducts,  &o.  Tlie  Gertnanii,  on  the  conlr.iiy, 
make  tlie  Gbma  'one  coiuiftent  vhole,  choosing  a  sabjecl,  n  hlcA 
ibey  only  reliere  hy  abort  vAot.  To  Ifab  may  be  added,  llmt  the 
tlylc  (which  bears  ocoulonal  linitlirude  to  Aitosoa^  Pbrqolrei, 
and  SautOIs  more  Italian  ihanhi*  olber  vorks.  The  most  beanti- 
fttl  piece,  and  tliat  most  in  bis  own  mantuir,  is  the  Doniue  Deaty 
wbich  isdcTotioDnl  and  solemn.  The  fine  fngiic,  Qtm  sancio,  par- 
licolarl;  where  the  subject  is  brought  in  in  the  bass  (bar  13,  |iagc35,)  ' 
ii  similar  as  to  Bnbjecl,  though  not  in  treatment,  to  one  by  Al- 
BRCCKTSBEBGBB,  in  Gi.EMENTl's  Pmclitnl  Harmony,  vol.  J,  p.  67. 
The  (Inel,  CMste  E/eison,  is  a  fine  composition  <i!h  Ciipc/'a  -but  on 
liii'  hIioIc  we  are  not  so  caplivaled  liv  this  as  iiy  most  oi  tlic  otiien. 

The  IMass  No,  li  unties  e!eL'aiicc,  patiios,  and  solemnity  in  ai 
high  H  degree  as  any  of  the  former,  tiionoh  ncilln^r  so  magnifi- 
cent nor  so  studioiislv  wroiiglit  as  some  ollicrs,  Jhv  Ki,r:<-  (no 
ordinary  praise)  is  appiopnatelv  beiiiitilnl — liie  ihlIdiij  ol  i -.c  Et 
/nrarnofuf  not  less  so,  and  Xhc  Sanclus  eriimcntlj' lievotiunai.  fhc 
Batedidtta  affords  perhaps  the  only  instance  knocrn  since  the  days  of 
FibBtTRliTA,  ^  those  words  lieing  set  as  a  fugue.  I'tiu  Afftus  DH 
it  an  ezQnisIlfl  sdo  fiir  the  soprano,  and  membles  the  beginning  of 
the  air  in  ^Igmo,  **  Poip*  AourJ"  The  key  is  the  same,  and  thff 
managetnent  of  ike  wind  instnimenls  (obl^i  tfaroogboat  (he  score) 
is  (nv  are  told)  so  sttiicingly  similar,  that  theft  can  be  no  doubt  of 
this  morement  having  first  suggested  that  charm itsg  song. 

The  length  to  which  our  article  has  already  extended,  warns  ut 
that  we  must  rest  upon  the  universal  reception  which  (lie  REeuiEH 
1ms  met  throughout  the  world,  rather  than  upon  any  comments  it  is 
uitliin  our  competency  to  make  upon  this  llic  most  oelebrated  of  all 
Mozart's  sacred  works.  So  wonderfully  indeed  does  it  combintf 
ali  tlic  attributes  of  grandeur  in  design  anil  exeoiitifin,  so  concentrated 
wid  deep  and  intense  is  the  feeling  tlial  it  in'.pircs,  so  inimitable  the 
imaginotioo,  so  sound  the  judgment,  ho  coiisunuiiate  llie  ninstwy 
orer  all  tlx  erudition  and  all  the  graces  of  the  art  possessed  by 


100 


HOZIRT'I  MAtSCS, 


HozAftT  and  exerled  upon  tliia  bis  lant  effurl,  tkat  it  niiglit  alinott 
■eem  imptMsible  to  resist  the  belief  of  a  tnpeniaturBl  itimulas  vbicb 
the  slor;  canaeded  vitb  its  prndncfion  is  calculated  to  engender, 
did  tre  not  knov  Ibal  in  human  efiairs  a  cause  equal  to  its  effect  n 
generally  to  be  (raced  ODl.  Sacb  a  cause  ve  should  say  existed  in 
the  Boluol  state  of  excessive  initability  to  which  the  nerret  of 
Mozart  vere  excited.  Tliis  was  (be  very  condition  upon  which 
any  extraorilitiary  circumstance  would  act  nilb  double  force  ;  and 
when  tlic  mind  had  received  the  impressions  nliich  bis  mind  is 
related  to  have  received  from  the  commission  of  t!ic  Klrangcrwho 
employed  liim  in  this  work,  (lie  very  predisposition  acid  the  im- 
pression trould  reciprocate  (.heir  mndiai  power  and  bring  on  that 
enthusiastic  and  pre[etriaturnl  deplli  of  fei^Uiig  and  vigour  of 
though(,  of  which  there  are  so  many  inarifs  in  every  bar  of  this  pro- 
digious effort.  So  multiplied,  so  extraordinary,  and  so  exaKed 
indeed  are  the  triumphs  of  genius  throughout,  that  a  volume  (□ 
students  in  composition  might  be  usefully  written  to  illustrate  the 
pbilosopliy  and  the  science  of  (be  Rbqdibm. 

There  it  one  point,  however,  upon  which  we  wish  (o  say  b  few 
woidii  Tlx.  the  very  didicult  question  of  who  finished  the  work.  To 
lis  it  seems  to  torn  upon  tbestaleof  couscioiiaiieiiastohu  approach- 
ing death  under  which  Uozabt  appears  to  have  written.  It  is 
quite  clear,  that  whatever  might  be  the  strength  of  hu  apprehensions 
concerning  his  impending  fate,  it  did  not  impel  him  to  any  intermis- 
lion  or  relaxation  of  his  desire  to  make  this  the  most  pcrfi'cl,  as  h« 
anticipated  it  whs  the  last  monument  of  his  genius.  He  still  kept 
•n ;  and  as  we  cannot  suppose  hh  invention  exhausted — as  thers 
is  but  slight  aulhorily  in  his  former  productions  for  bis  recur- 
ring  to  sutijpcia  already  applied,  and  more  especially  (upon  which 
Mr.  Novello  very  judiciously  insists)  as  the  words  were  ofa  dif- 
ferent character,  sttmi^'  groinul  for  llie  belief  that  he  did  not  put  the 
finishing  hand  to  llie  Rfqiiicri  is  licreby  afforded.  This  latter  argu- 
ment, iiowcvcr,  may  perhaps  be  somewhat  invalidated  by  the  former 
instances,  although  Mozart  has  obviously  stndied  more  severely 
in  this  work  than  in  most  of  liis  Masses  the  adaptation  of  sotmdto 
sense,  as  well  as  in  the  Kyiie  itself,  which  is  the  subject  repeated. 

.But  there  is  yet  another  circumstance  which  demands  explanation. 
Bad  the  whole  not  been  his  work,  it  is  sli^nlar  that  each  part  shonU 
In  a<tua%  complete,  aM  that  tba  hftnd  of  ftte  should  hare  ftrmtod 


HOZART  I  HilSSEl. 


iOl 


his  counc  al  the  exact  concIuEioii  of  an;  one  divUion  of  the  lubjecl ; 
jet  had  lie  left  niiy  porLion  in  an  Incipient  state,  il  is  scarcely  pnn 
bable  that  the  lucmory  of  lu  curious  a  particutar  should  hare  been 
lost  or  suppressed.  There  is  (nrtainly  no  one  lo  competent  to  de« 
cide  this  point  from  inlfliDBi  evidenco  as  Ms.  Notello,  and  from 
hii  gtnt  authority  we  ate  exceedingly  loth  to  dissmt;  but  nhen  ve 
cooudcr  the  acknowledged  state  of  weakness  to  which  Mozakt  was 
reduced,  the  apprehension  of  death  under  nhich  lie  tvrotc,  tlie  inevit- 
able fatigue  and  wearisome  exhaustion  which  so  miglily  uii  eKcrtioii 
must  bring  upon  a  frame  so  near  eztinelioii,  and  the  desire  he  enter- 
tained to  complete  this  commission — vhcn  couple  with  these 
considerations  the  melnncholj  satisfaction  with  which  aDVcIion  lotes 
to  dwell  upon  the  minute  circumstances  and  the  earnestness  with 
wliicii  llie  survivors  of  departed  genins  nlwaj's  ^Irivn  lo  perpetuate 
every  particular,  and  llic  last  most  cspecinllj',  that  allcndcd  its  de- 
cline, we  cannot  help  inclining-  lo  tlic  opinion,  that  had  any  otlicr 
Land  been  employed  in  lheconclusion,t]iere  would  have  been  evidence 
of  the  fact  more  conclusive  (ban  is  to  be  drawn  froni  the  very  natural 
snpposiiionof  Moza  ax's  anxiety  to  give  the  utmost  divenily  to  his 

Our  general  opinions  will  be  gathered  from  theparlicular  relation  we 
have  given.  It  is  impossible  not  to  regard  these  prodnctions  with 
the  highest  veneration^  Genius,  by  which  we  mean  to  signify  that 
inveutive  laculty  which  inre^  its  object  in  new  and  beaotifnl  ibrntS) 
shines  tbroughont,  while  the  depth,  fertility,  and  erudition  of  Mo- 
zart's mind  have  been  shewn  in  the  combination  of  antient  learning 
witlt  modem  el^ance,  and  gtacefiilness  of  musical  phraseology  with 
an  intensity  of  feeling,  peculiarly  his  own.  It  has  been  liis  particu- 
lar aitf  ibute  to  sustain,  by  a  constant  flow  of  melody,  all  those  parts 
where  his  harmonious  combinations  are  most  ^ravc  and  striking,  and 
his  transitions  of  the  grandest  naCurt'.  It  was  Iiis  to  give  almost 
equal  beauty  to  all  the  parls  of  his  score,  and  to  enrich  accompani- 
ment without  degenerating  into  frivolous  elaboration.  He  has  loo, 
in  many  instances,  thrown  sach  philosophical  light  upon  the  ait  of 
expression,  that  they  will  enter  into  the  theory  as  examples,  and  be 
received  as  rules. 

Yet  it  must,  upon  the  whole,  be  admiUed^  that  the  Mouet  are 
composed  in  a  mixed  style,  not  tboioughly  ecclesiastical  nor  indeed 
witkont  a  certain  allowance  ofdmnatioefiect.  ItistbisadnixtDie 


]02 


MOEin'S  MASSES. 


that  has  given  an  air  of  lerit;  to  soineof  the  KjricB,  tits  Credos,  and 
Ibe  Donaa,  ai  irelt  as  the  latitude  be  bat  taken  fTMn  Iheezamptei  of 
other  vrilcTs  for  tbecbnrcb,  in  setting  these  pturls  of  the  Mass  ta 
strains  whieh  cerlainly  serve  to  diversify,  but  which,  at  the  same 
time,  tend  to  ^TC!lk('^  and  lower  llie  high  tone  of  feeling  (he  most 
nwrul  of  all  ptajers — Lord  hate  mercy  upon  us!  Christ  haze  mere// 
upon  us  '.  ouglit  to  inspire.  From  tliis  clii^ct  Ilic  Masses  arc  certainly 
not  to  be  eseinptcd.  Bui  wlicn  ire  consider  llic  boilj  of  composilion 
and  tlie  general!}'  exalted  sak'mn  raptures  of  the  conceptions  and  [lie 
expression,  ive  arc  acquainted  with  Bc;ircply  any  thing  equal  in 
merit,  except  il  be  a  few  of  our  own  cathedral  Borvtces,  and  nothing 
superior,  save  some  of  11  andej.'s  iiolilc',!  a^icreil  works.  And  v  lien 
iLike  into  viL-w  tliy  n;tlurc  of  llic  subjecl,  liic  uaiveisnlity  uf  lliH 
language,  the  genius  of  the  roan,  {lie  grandeur  of  the  designs,  and 
the  splendour  and  beauty  of  iheircsecution,  ve  sajr  at  once  thb  is  r 
work  fbtuU  coantries  and  all  time. 

To  the  Editor  belongs  as  great  praise  as  can  be  bestowed  upon 
tfaeIcaraiiig,taste,labour,  diligence,  and  accuracj,  necewuy  to  the 
compilatbn  and  onaogement  of  snch  a  traik.  Ha.  NOTE£t>o  hm, 
ire  bcliev^  made  it  entirely  correct,  vhile  be  has  in  bis  organ  accom- 
poniment  oonpreheniled  Iba  real  extent  of  the  author's  design^  and 
placed  the  valuable  parts  in  a  lucid  and  dqant  manner,  malcing  the 
whole  as  full,  judicioas,  and  complete  as  was  possible.  His  direo* 
tions  for  the  use  of  the  slops  arc  also  particularly  valuable.  In  foir 
words,  Mr.  Novello  has  raised  in  Engliind  a  classical  and  |terdii- 
rablc  memorial  of  Mokaut's  fame,  while  his  own  name  will  live  oi 
tile  architect  who  bos  collected  and  constnictcd  into  one  solid  end 
■npetb  Aibrlc,  thoer.  materials  which  the  prodigality  of  genius  bad 
soatterod  abroad. 


103 


Satala  for  the  Piano  FortCf  Willi  an  Acaiinpamraenl  for  tkt  Vit^  or 
FJute  (ai  Ubhttnt);  eompoted  by  J.  B.  Cramer.  London.  By 
the  R0511I  H&TiDonie  ImUtulfon. 

Wlierii;vcr  wi;  na'.  tlie  name  of  this  com)ioscr,  ivc  iiislaiitly  anli- 
cipalc  ffract,  mcli>ity,  ami  scii'iic.',  strongly  are  lliose  properties 
assuciaied  nilli  tlic  works  of  Mil.  Ciiahgh.  We  Ihcrcforc  cnlcc 
11)1011  tlie  generally  pleasing  laak  of  examining  any  production  of  lib 
with  a  fervour  of  espcctation  ivliich,  tt  hile  il  disposes  us  to  look  most 
favoarabljr  on  the  work,  a  also  liable  to  a  slroiigcr  revulsion  nben' 
wet  it  has  chanced  that  disappointment  has  succeeded  and  chaced 
atn^  (be  more  agreeable  visions  of  expectancy.  The  sonata  before 
ni  has  unlnckily  this  latter  tendency. 

It  is  written  in  the  key  of  D,  The  tbeme  is  of  an  ordinary  and 
common  description,  affording  as  no  idea  vhy  such  a  mind  as  Ma. 
Cbahbr''s  should  consent  to  its  adoption.  The  commencement  too 
is  trcaled  in  an  antiquated  style.  At  (he  end  of  the  I61I1  bar,  nithoat 
any  appnreiit  cause,  tlie  aulhor  r.oiiiea  (o  a  full  slup,  Tliis  sudden 
suspension  is  rarely  maile  use  of  by  jinlicioiis  euniposcrs,  except  for 
llie  purpose  of  giving  the  liilener  (iinc  for  digesting  some  elaborate 
preceding  part,  for  the  immediate  effect  of  lUe  suspension  itself,  or 
to  prepnre  the  auditor  for  some  extraordinary  moduktion.  \Vc  here 
however  lliid  iieillier  of  these  purposes  attained.  The  following  bar 
consists  merely  of  two  chords  of  minims  in  the  relative  minor,  which 
is  a  viTy  ordinary  Iransilion.  He  then  naturally  glides  into  tlie  key 
of  A ,  ill  »liicli  lie  has  an  extraneous  little  passage,  which  cannot 
however  be  called  llic  passetto.  From  this  be  wanders  about  tbrougU 
Kiany  bars,  without  meaning,  or  indeed  any  connection  with  llie  prin- 
cipal subject,  until  he  makes  bit  close  in  A.  The  coda  which  fol' 
lows,  though  rather  common  place,  is  treated  agreeably  In  a  kind  sf 
dialogue  between  tBe  phino  forte  and  fiute. 

In  the  second  part  he  takes  the  subject  pleasantly,  in  the  fifth  of 
the  relative  minor  ofD,  which  naturally  leads  him  into  llic  key  of  G 
ami  its  relative  minor  li.  This  part  is  wrought  into  an  agreeable 
dialogue  between  the  two  inslmnients.  He  then  falls  back  into  the 
relative  minor  of  the  original  key,  which  leads  him  into  F  roincr, 


CRAMER'S  SONATA. 


wbcre  be  maketasnspeoded  closead  libiium.  He  next  lakes  abrupt' 
the  original  Icejr  ivilh  gooJ  elTecl,  but  iiilroduces  passages  alto* 
getlier  irrelative.  From  Uil*  he  proceeds  to  (he  duminanl  vrith  the 
cbord  oftheTtb,  and  after  afullatoii  begins  the  subject  again,  varied 
-with  a  little  modulation.  A  short  pawage  in  the  organ  stj'le,  havmg 
no  relation  either  to  the  subject  or  the  other  paaiages  before  intro- 
duced is  now  worked  into  b  chain,  or  wliat  the  French  would  call 
"  cn  filadc."  The  long  passage  In  the  first  pstt  is  next  resumed, 
which  brings  him  to  (he  close  and  coda  as  in  the  first  part. 

Tliescrond  movement  is  an  Andante  in  the  licy  ofA,  and  has  some- 
thing of  the  character  of  a  Sicilinri  antig.  It  is  pleasaotlj'  and  taste- 
fully treated.  After  a  sliort  ininnr,  tin.'  suliji^ci  is  resnmed  with  aome 
embellisbraentfor  the  piano  forlc,  uikI  rqjcu(<:J  bj  Ibe  flute,  with  a 
sweet  accompaniment  for  the  jiiano  rurfc. 

'T\k  last  movement  is  iin  Alk'grello,  in  minuet  time,  in  the  subject 
of  wliieh  Ihi-  anlborspcms  Ik  linve  suiigiit  neilhiT  or iginality, elegance, 
or  any  other  quality  which  might  save  it  fioni  the  huge  mass  of  com- 
mon-place found  in  the  multitudinous  worksof common-place  writers 
for  the  piano  forle.  The  second  slrain  is  not  at  all  cmnocled 
with  tho  first,  and  the  passages  arc  so  loosely  throivD  together  as 
to  exhibit  nu  pretensions  to  art.  Af)«  a  close  in  A,  there  are  six 
barsof  pleasing  execution,  vhidi  again  introduce  the  whole  of  the 
first  strain  precisely  in  its  original  slate.  The  second  strain  is  again 
slightly  brought  forward,  and  after  a  tittle  niodidalion,  the  author 
reposes  on  the  dominant  of  B  minor,  which  leads  him  to  the  dominant 
of  the  original  key,  which  dominant  has  its  usual  flat  7lh.  After  a 
full  slop,  the  original  siraiu  re-appears,  irilh  a  running  bass  of  four 
bars  only — the  remainder  is  a  species  of  coda  of  tolerably  brilliant 
effect. 

Aliqiinndo  bonus,  &c,  and  this  sonata,  is  one  oflhe  things  that  in- 
dicalt*  M[i.  CniMEU  is  not  exempt  from  tin;  iiir^iiioiiai  ilromsineises 
to  »liich  evi;n  great  gciiius  is  snlijecl.  iie  not  indeed  seen  his 

name  on  the  title  nc  should  never  have  traced  his  hand  in  the  work- 
manship, but  hare  attribnted  the  petformnnce  to  some  infinitel/ 
in&rloi  writer. 


Digilized  by  Googfe 


D4I0  far  ike  Pimo  Forte,  and  Violin,  bt/  Fred  Kalkhrenaar,  (Op.  4flJ 
London.  Clemcntl  and  Co.  CliappcU  and  Go. 


Thb  Dna  it  an  original,  a  raguUr,  and  a  capild  coaipoiiitian.  It 
ninifests  a  rich  imagination,  singular  coultivance,  and  a  maslury 
9KT  Ills  materials  thai  entitle*  its  author  not  nnlj  to  tlie  chntacter  of 
genius,  but  of  science  and  coneunimatc  nrl. 

The  first  mnvcmcnt  in  B.  minor  is  bold  but  graceful,  and  it  ii 
(reeled  with  n  degree  of  judgement  that  displaj-s  at  tlie  verj  oiitael 
iifihe  uork,  tlie  knowledge  (he  com  poier  possesses  of  the  potrcrsorboth 
Liiiilrumeiils — a,  requisite  somenhut  more  rare  than  consists  nitli  the 
;>l>[iHrenl  fncility  with  which  such  a  raultiplicity  of  dncts  are  given 
nniy  lo  tiie  vraiUI. 

Alinr  n  modulalinn  wlilch  arri^sts  and  suspends  for  nn  inalant  the 
atleiition,  the  singing  passage  is  introduced  in  a  simple  and  elTcctive 
manner  in  the  key  of  D.  bj  the  violin.  The  transition  into  thii  kcj 
ii  quite  unexpected  and  hiu  a  fine  effect  The  soine  passage  is  tbeu 
taken  up  b;  tlic  piano  forte,  and  tbe  natural  defecla  of  IhatinstTonent 
are  judicioiulj  covered  hy  the  iutioduction  of  graceful  ornament*  ia. 
those  parts  where  the  nolin  has  the  ponet  of  inatBining  tba  notes. 
Sufflc  very  ingenioiit  modulations  give  great  interest  In  this  lemtMial 
(if  (he  passage. 

AUernnte  passages  of  execution  for  botli  instrumeuts  then  follotr, 
aii(]  conclude  nilh  a  very  liritliitnl  one  for  Ibe  violin. 

Tim  lirst  subject  is  next  repeated  three  times,  uith-changei  of  har- 
mony so  as  to  give  a  new  elFi^ctat  e<icli  rcpelition.  Goth  iDstrunuoIi 
tben  tiike  it  up  altenintcly,  in  a  sort  ufslrctta,  and  tlic  tint  part  oon- 
cludi-s  with  a  brilliant  pussnge  for  the  piano  foilc. 

Till;  hi'coiiil  part  begins  alltr  an  enharmonic  transition,  the  funda- 
menial  s::v<;nth  nn  llic  (:  liciiig  changeii  into  .m  augmcnicd  sixth, 
which  instead  of  going  into  B  minor,  without  changing  a  note  on  the 
piano  forte,  goes  into  B  |,  major.  The  subject  is  then  taken  by  the 
violin  and  the  left  hand  on  the  piano  Ibrte  alternately,  asd  worked  in  - 
a  very  able  style.  This  is  the  part  where  composers  mostly  fiiil; 
and  is  indeed  that  id  which  at  once  is  shewn  their  realscieoce  in  a 
tegular  composition  of  this  species.  Here  most  be  no  [ntrodndion 
of  new  matter,  but  the  aathor  must  resume  the  materials  on  whidi  he 
VOL.  III.  no.  IX.  F 


106 


K&LKBKEN.NEK'S  RUO. 


hssalreaJy  worked  ;  and  if  he  is  not  a  master  of  bU  art  his  objects 
will  iniinediately  be  seen.  Vsriel;  most  now  be  produced  by  fine 
TBastetj' evci  his  materials,  whilst  the  gieatectjudgmeatmnBt  be  em- 
ployed not  to  overwork  them;  an  error  with  which  we  could  charge 
a  composer  of  considerable  emineitce  who  has  lately  been  amongst 
us,  and  who  seemed  to  imagine  that  to  posh  oti  this  renewal  of  his 
subjects  in  all  passible  vays,  best  shewed  the  abilities  of  the  writer; 
whereas  Iniu  excellence  resides  in  that  compression  which  is  pecu- 
liarly titled  to  the  subject  on  which  he  treats.  Such  an  introduction 
of  foreign  and  irrelevant  matter  is  nearly  allied  lo  the  vulgar  garru- 
lity ID  discourse,  whicli  is  saliafied  only  with  sayiii?  idl  that  can  be 
said,  without  paying  (lie  smallest  regard  la  the  ivliolesome  |)riiilcnce 
that  reatricls  u  man  of  judgment  to  those  things  Hhieb  ought  (o  \k 
said.  It  is  only  after  having  written  agreat  di'.il  of  counterpoint,  that 
a  composer  renders  himsdfmaaterof  tbisdiflicult  jiarl  of  his  art;  and 
wc  should  do  great  injustice  to  Ma.  Kalk  nnes  n  eu's  abilities,  not  to 
give  him  the  highest  commendation  for  h\i  exci.'lk'[icc  ui  this  respect. 

The  Minuelto  is  a  movement  of  a  wild  nnd  singular  character, 
which,  though  it  dillers  from  and  diversifies  the  other  parts  of  the  duo, 
is  yet  sufficiently  allied  to  (he  general  design  not  to  disturb  the  unity 
ofe%ct.  The  trio,  which  follows,  is  gracerul,  but  exhibiting  a  cn- 
itous  and  beautiftil  and  various  train  of  contrivance  in  the  imitations 
between  the  two  instmnients,  of  which  theelTect  is  lunch  heightened  by 
their  contrary  motion. 

The  Adogio  commences  with  six  introductory  bars,  quaintly 
terminated  by  a  suspension  on  the  dominant  with  its  seventh,  from 
which  the  author  suddenly  and  therefore  more  effectively  tntro> 
duces  his  real  subject,  the  air"  0  Nmrny  wilt  thou  gang  with  me" 
rendered  exquisitely  fascinating  and  pathetic  to  £ngIi^h  cars  by  its 
association  »ith  the  high  poetry  to  which  it  owes  its  birth.  The  cele- 
brated French  Viuliuisf,  M.  Baillot(1o  «hc,m  Mn.K.ii.KDHENSEB 
has  dedicated  his.  "orU)  «lien  in  Ihis  enniitry  phved  Ihi^  air  with  a 
divine  cjtpressioii,  and  it  is  probable  that  this  circumstance  led  lo 
Mn.K's  adoption  of  it.  He  has  used  it  very  efiectively,  and  certainly 
with  mnnifest  delight,  for  wethink  the  movement  altogether  a  little  too 
protmctcd,  principally  however  by  the  iterations  at  (he  bottom  of  page 
18  and  the  top  of  19,  and  by  the  Cadenzas.  The  variation  given  to 
ttw  piano  forte  wliile  the  violin  accompanies  pizzicato  has  a  peculiarly 
[leasing  tSKt. 


KALKBnSNMEB'l  DtO. 


lOT 


The  best  raoTcmcnt  is  a  French  air,  orifrinally  irriltcn  in  imitation 
of  the  Hardj  Gurily,  in  nliichthe  t)[i.ss  con-lanllj'  keeps  onllii;  Ionic, 
Its  simplicity  is  irell  calculatcil  for  llio  Ftigalo  sljU',  nntl  M  ji ,  K.  has 
jiot  omitted  to  take  advantage  or  tbis  property.  Tlie  Itvo  inslnimcnls 
«re  thus  kept  in  s  brilliant  and  efiective  contention  of  imitation, 
vberein  the  author  display!  the  excellence  (tftiie  school  in  which  he 
has  been. educated. 

Tbui  ends  this  mitilserly  corapoiitipn,  whioft  does  Mr  Kalx- 
HBNMER  great  .credit.  Its  design  manifests  Uie  iiilelleGtital,  ila 
csecation  the  pniclicsl  power  of  the  au(Iior,for  il  is  not  withont  con- 
siderable diffioottiei,  and  mnst  be  often  beard  before  all  Its  tOecta  can 
be  justly  appiebended. 


In  l!!>o  Tolames  ;  a  Seleilim  of  ■<id-h-  and  thiihic  Chmh,  l-U/i  Ki/rte 
lilee^otis,  Safctuses,  Anlieiil  ii.'id  ?ifmkr:i,  in  .Store,  pcrfor/ncd  at  the 
priiidpal  Choirt  in  the  Untied  Kingdoms;  the  whole  collected  mid 
'  arranged  with  a  separate  Aecmnpanimait  for  the  Organ  or  Photo 
Forte,  tDtiA  a^gurtd  Biam  ij/  John  Clarke^  Sfut.  Doc.  Cam- 
brk^s.  Xfondon.   Blrchall  and  Co. 

A  \ery  uiefnl  collection  nf  chants,  containing  nearly  all  Uie  old 
cbnnls  we  have  ever  seen,  and  ^imong  those  of  modern  date  arc  some 
which  we  beb'eve  have  not  been  previously  published.  Thon^ 
some  are  rather  insipid,  yet  where  the  cathedral  Bcrrice  is  performed 
twice  a  day  Ihronghout  the  year,  a  variety  of  chants  is  desirable, 
notwithstanding  many  of  llii-m  have  a  great  resemblance  to  each 
other.  In  so  short  a  composition  as  a  chant,  aa  author  will  oBen 
lake  both  the  melody  and  tiic  Itnss  uf  the  first  or  second  half  withoirt 
being  nwnrc,  perhnpf,  lliat  tin;  sami'  pmsnge  had  been  previously 
priiileil  by  anuHiiT.  Tims  ui  vn!,  2,  pige  a  cli.int  is  asCTibed  to 
Mh.  {{(issEr.,  Hliii  li  i-.  |)r, iis  lo  canto  and  liaas  in  tbu  first 
half,  the  some  as  oni;  printed  in  Da.  Beckwitii's  collection,  with  a 
different  second  purt,  and  wilhout  any  coiiipo^er'ij  name  annexed. 
Among  the  modern  composers  we  have  to  Ibaiik  the  Archdeacon  of 
Winchester  for  contributing  so  many  very  crcdilablu  chants  copu 


108 


CtABKE'S  CHANTS. 


poscil  by  bimseir.  So  correctly  is  the  work  eililcti,  tliat  \re  Iiave 
obserred  bat  one  typngreptiicnl  error.  In  vol  1,  page  10,  bar  5 
Rom  (heJmgbning,  the  tenor  makes  conscr^nlive  flftlis  with  (he  alto; 
m  tlMuld  bttTfl  thought  this  a  tjpograptiicHl  error,  or  th&ttlie  nots. 
In  Ihe  IcDor  was  bj  Dr.  G.  written  a  line  higher,  (in  which  case  no 
■ucb  di^owanoe  wo  old  have  occarrcd,)  had  we  not  teen  the  aame 
chant,  in  Db.  Beokvitu'i  conection,  with  the  tame  error. — 
Db-  W.  Bates  wb*  to  correct  a  composer,  wb  are  fall;  per- 
■naded  he  never  led  it  «o  by  ^sign,  and  we  nercr  obsemd  in  an; 
of  hu  pablicBtions  a  limilai  otertight.  In  a  chant  by  Dr.  Crotch, 
Tol.  S,  page  33,  bar  9  from  the  beginning,  are  conseciilivc  fifths  be- 
tvixn  ihc  tenor  and  treble.  In  refi^rring  lo  Dr.  Beckwitb*! 
edition  of  this  dianl,  the  note  C  in  Ihc  tennr  is  pointed,  and  doc« 
not  ascend  till  tlie  A  in  llie  treble  lias  been  heard,  and  conseqiicnllj 
Iliere  is  no  such  disallowance.  Tho  laliu  irr.iri;,  suk^  in  Netr  Col- 
lege Hall,  on  Fotinder'ii  Commemorations,  ranipuseil  by  llEAnlKO, 
A.  D.  1681,  is  too  excellent  n  compo:<i(ion  not  (o  \k  f^rcntli'  admired 
•Ten  hy  those  who  arc  not  nnder  the  influence  of  Wykainical  Abm>- 
ei^ittnB.  The  Hjmnni  Matntinuit  hy  BiiHor,  A.  D.  1695,  is  enn 
now  elegant. 


A  Cantata  for  two  Vviea,  teiA  Oioruuei  iud  afiiii  Band;  the  mordi 
lakmfnm  MiUoiCt  Paradise  Loit;  composed  by  Pio  CianchtUkiL 
London.   For  Ibe  Author.  Hilchetl. 

The  conipoxeroI'lIiitCaiilala  was  known  in  London  for  bis  early 
demonstration  of  talent.  He  has  since  studied  at  Naples  under 
ZiKOARBLLi,  and  thib  composition  was  jierfornied  in  the  Spring, 
at  a  cancer),  immediately  on  lii^i  retnrn  lo  England,  at  the  Argyll 
Rooms,  where  Ma.  P.  Cia.nchettivi  also  played  a  sonata  of  bis 
own,  in  a  very  creditable  manner.  To  grapple  with  the  moat  sublime 
poetry  in  our  laogoage,  and  at  the  same  time  soma  of  tbe  most 
difficult  in  point  of  accent,  on  hia  introdnctffrj  assay,  beapealu  an 
i^iriBg  mind  and  a  good  taste. 


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109 


The  jiiirls  of  Ml  (.tok,  niiicli  Mr.  C.  has  selected,  are  twall  Je- 
(ar.heil  |n,r[i<.ns  of  lla-  fpvpiiIIi  and  fiftli  buoks.  TliCj  are  so  liis' 
posi'il  ns  to  coniTTicncc  with  a  ctiorus  of  the  lieavenly  liagi,  whicti  il 
siiccci'deil  by  ilii;  sorip  of  Ailnin  on  ownting  Etc,  and  bj  a  recila- 
live  aiitt  nirfiir  Eve  in  rc\>]y.  Tlic  cliorua  ii  agmin  renewed,  the 
morning  liymn  set  as  a  ilui:!  succeeds,  anil  a  hallelujah  clioias  con- 
cludes the  Cantata.    Adam  is  a  Icnor. 

It  begins  wilii  a  short  iiutronieatal  intrwlat^ion  in  the  biiliinnjl 
key  of  E  nitli  four  sharpt,  vbiob  (he  boraa  open.  Tbc  flatcs 
take  up  the  strain,  and,  after  n  faw  notes  from  tbe  whole  band,  (be 
banoon  obligato  continnea  It  This  ■jrmpboojr  U  certainly  flawing 
ud  agreeidile,  composed  of  light  and  elegsot  stnuns  of  melody.  It 
Temiods  us  hy  its  stylo,  and  indeed  by  the  general  relalion  of  the 
subject,  of  the  inlrodaction  to  the  third  part  of  IIayds's  Creation. 
Tbe  recollection  is  perhaps  unfavourable  to  Mb.  Cianchettini. 
The  vocal  part  is  (hen  beeun  by  a  cliorus,  intended  to  cumbine  so- 
lemnity  with  Hglitncss  and  grace,  but  the  subject  does  not  seem  to 
us  liappily  clioscn.  Adain'i  call  to  Eve  (a  cavalina)  is  certainly  not 
ktriking,  nor  arelhe  aacceeding  parts  which  appear  too  of  tliat  level 
smooth  mediocrity,  that  neither  elevates  nor  depresses  nor  moves  the 
hearer.  The  daet  howercr  we  consider  to  be  the  best.  The  con- 
cluding fugue  is  a  good  organ  subject,  answered  in  the  Gfth  above; 
it  it  afterwards  tttken  in  the  dtmiioant,  and  concludes  by  a  return  to 
the  original  Inyi  Tbe  eSecta  of  tbe  chwuisBs  are  heightened  by 
ibeir  being  given  fint  to  part  of  (he  roices,  and  repeated  by  the  whole. 

In  lookli^  orer  Ihii  composition  we  eon  but  feel  disappointed 
by  its  want  of  fJroe,  dignity,  nod  nnimatiou.  The  melodies  bto 
bardy  [deadng,  find  there  are  few  maiks  of  tbatglovaf  imagioaiitm 
which  we  should  hare  thougbt  wanid  have  fired  the  young  musician 
at  hii  first  entrance  into  (be  oirole  of  competKion.  There  is  science, 
(here  U  suavity,  Iheie  is  some  portion  of  tenderness,  but  neareofrud 
we  mnst  say  Ha.  Ciahohbttihi  has  yet  to  manifest  in  his  muiio 
the  proof  of  the  elerUion  of  sentiment  and  concentration  of  feeling 
oftAich  hit  jndioiou*  and  daring  choice  of  a  subject  belil  out  the 
fairest  promise. 


Digifeed  by  Google 


110 


1x1  PImin  At  Ptit^emptt  lionAi  fvr  the  Piano  Forle;  compoiedby 

M.  C.  Jfiltm.    LondoD.    Ratter  and  MiArtiij. 
Introduetiim  and  Roiub  for  ike  Pimm  Forte,-  competed  by  M.  C. 

WHson.    London.    Rutter  and  ftl'Atlhy. 
Air,  vsUh  Vmiationtfor  Ihe  Piano  Forle;  composed  by  M.  C.  Wiltm. 

(Op.  17.)    London.    Bj  Ihc  Royol  Instil  lit  ion. 
Sjoiss  Air,  with  Variatiom  for  the  Piano  Forte,-  composed  by  P. 

Knaplon.    London.    Clitippelt  and  Co. 
Introduction  and  Polomise  for  the  Piano  Forle;  compoifd  by  T. 

Haigh.    London.    Clemenii  and  Co. 

It  is  apart  of  oni  ilutj,  and  one  wliich  ne  jirrfarm  witli  pleasure, 
to  aid  in  the  diffusion  of  Ilic  names  and  pretensions  of  tliat  class  of 
composers  wiiose  claims  are  not  elevated  at  once  into  public  irgard 
by  public  perform  a  rice,  imd  whose  merils  must  of  course  become 
known  by  llie  fiirce  of  their  talpiils  as  wrifcrs.  We  have  Willi  this 
view  selected  the  three  first  ailicles  from  Ihe  works  of  Mn.  Wilson, 
wlio  within  no  very  long  period  has  published  about  eighteen  pieces, 
and  nbo  has  obtained  sufficient  oelebrilj  to  be  engaged  in  theDiniMttc 
am  now  pnbtiifaing  by  Uie  Harmonic  Iiutitatcoi^  tiie  tentb  ninn* 
ber  being  bjr  him.  The  two  first  of  his  works  w«  have  idMfcd  arc 
probablj  among  bis  earliest ;  Ibe  third  (op.  17)  is  one  of  his  latest. 
Ijcs  Plahirs  du  Frinlempi  and  the  Rondo  ar^  level  compoihbnB  of 
no  difficultj,  but  with  mclodj  enongh  lo  nltiact  the  earj  and  with 
sufficient  cseculion  to  exercise  the  hands  of  incipient  performers. 
The  Air  with  variations,  has  more  claims  to  cnlical  notire.  The 
introduction  is  scarcely  marked  hy  siifBcicnl  meaning.  There  are 
phrases  and  sentences  ia  iiuisic  which  form  flu;  subjects  regular  com- 
posers work  upon.  Tlicrc  Hrc  on  llie  contrary  jiassngcs  of  mere  rem- 
ptissage.  Now  wc  do  iioi  hileiiil  accuse  Mn.  Wilson  of  compos- 
ing wiliiout  design,  but  we  tliidk  liiat  ilesign  is  not  mode  niiequately 
and  distinctly  perceplible.  His  ()kin  is  obscured  by  chains  of  notes 
ivliich  have  no  relation  tolhti  Ihemo,  [such  for  instance  as  occiipv  the 
entire  third  blalT  and  the  lirst  bar  of  the  fuurih  of  this  inlroduclioii,) 
ati'I  which  dUute  the  stronger  parts  of  his  composition. 

The  subject  of  his  variations  is  marked  less  by  its  melody  than  hy 
its  accetitii.ition,  which  howercr  fits  it  for  the  purpose,  though  the 


ruli.'  is  EU  general  tt  may  be  received  as  a  maxim,  lliat  in  pri)[iuitio)t 
io  tlie  spirit  artel  beauty  of  llie  melody  choecn  as  a  theme  will  be  tlie 
impression  made  upon  llic  hearer  by  the  variations.  The  examples 
ofthU  truth  are  so  many,  that  we  need  scturcely  cite  any  one  in  par- 
ticQlar — Rossini's  Di  lanH  paijpUit  botrevet  noir  so  popular  in  so 
man;  shapes  will  sufiice.  Mb.  Wilson  has  soogbt  originality  in 
soine  of  his  vftriationi,  in  otben  he  has  heen  content  with  set  fornu 
Id  which  however  he  hu  aimed  at  adding  as  much  diversity  ai  a 
good  deal  of  employment  for  both  bands  oonid  bestow.  The  second 
appears  to  us  to  have  considerable  merit,  and  the  fourth  a  graceful- 
ness that  recommends  it  beyond  the  rest,  tic  has,  probably  nncon* 
sciously,  falien  ialo  siime  similitude  to  lh«  well-known  Sal  Margine 
iun  rio.  Tlie  lifLli  is  an  exercise  for  the  left  hand,  and  the  whole  is 
termiuatcd  by  a  singular  sort  of  coda.  Mr.  Wu.eoN,  from  a  gene* 
ral  iiupcclioii  of  his  works,  appears  to  us  lo  be  an  improving  com- 
poser, but  !iis  tiioujrhls  w;int  concciitialion,  and  his  designs  and 
execution  obviously  lack  that  regularify  which  springe  from  and  is 
only  lo  be  acquired  by  the  lung  and  earnest  slujy  uf  really  great 

Mb.  Kn  anion's  air  is  as  good  and  no  better  than  the  general  heap 
of  such  things.  We  have  more  than  once,  had  the  gratification  to 
speak  very  highly  (but  not  more  highly  than  (hey  deserve)  of  some 
of  his  vocal  compositions.  All  (hat  we  have  seen  of  his  writings  for 
(he  piano  fort^  induce  ns  to  (bink  bis  strength  lies  in  sAling  words. 
There  he  excels  must  of  (he  present  day.  In  composing  for  instru* 
menls  he  is  lost  in  (he  multitude  of  mnliocnly. 

We  esteem  Ma.  Hugh's  production  chiefly  on  account  of  (he 
melody,  lightness,  and  method.  It  is  not  so  quaint  as  Mr.  Wil- 
iON's,  nor  so  common  place  as  Mn.  Knapton's.  It  neither  tasks 
the  eye  nor  the  hand  with  difficulties,  while  it  pleases  the  ear  by  its 


lis 


Duett  M Perfcn-mer^  on  Ihe  Piaiio  Forte,  on  the.  finoarite  French 
Air,  An  dmr  dc  la  liint ;  composed  bi/  T.  Lalour,  Piimhle  to  his 
Majisli/.    London.    Cliappctl  ami  Co. 

Dixiirtimenio,  for  liso  Performers  on  one  Pia,io  forle,  ii-ifh  an  Ac- 
companiment for  the  Flute,  (ad  lib.)  ;  composed  by  T.  Skarratt. 
LondoR.   ClemeDti  anil  Co. 

A  Duet,  for  two  Paftnrmert  on  the  Piano  Forte;  adapted  from  Roi- 
imPt  Opera  of  II  Barbiere  di  Siviglia,  by  W.  WMu  I^ndon. 
Birofaall  and  Co. 

JH  Tbnfi  PalpUii  arranged  for  too  Performers  on  the  Piano  Forte, 
bt/W'Bemelt.   London.  Power. 

Mr.  Latouh'k  duct  is  upon  an  agrurabli:  IhL'mc,  und  takes  th* 
character  of  an  air  with  variations.  Tin;  first  isa  serifs  ofiraitatiotw 
between  two  performers,  well  and  effectively  managod,  Ibo  second 
more  common  place.  Tlie  third,  in  marcb  time,  is  a  bold  and  good 
exercise  for  tlie  liass.  Tlie  fourth  is  a  very  quaint  and  pleasant 
movement,  the  (iflli  brilliuiil,  considering  the  intcnlional  simplicily  of 
its  sliucturi.-,  llie  slKtli  llic  most  original,  and  allogetber  iho  licsf.  A 
sevuiitli,  in  liif  form  of  n  Itiilero,  concludes  the  lesson.  As  a  whole, 
Vie  coin^ein;  it  to  be  addressed  to  the  jiutpose  of  inciting  young 
pl;._n;rh,  (..  Mliifh  it  is  well  ada|>(ed. 

M  H.  S^K  \  H  i!  att's  is  more  in  the  niittire  of  a  regular  composition, 
adoptinga  theme  and  working  upon  it — that  theme  is  a  march  of  a 
bold  but  not  very  brilliant  character.  Paitiontofthe  subject  are  well 
vorked  into  a  trio,  an  intermezzo,  and  an  atUgro.  They  are  easy, 
tnelodioui,  and  eBbctive.  Tlie  passagei  arise  naturally,  and  connect 
themsetves  by  siai|ile  relations,  and  the  duet  Is  altogether  pleasing. 

Mr.  Watts  faBsaTTanged  his  selectioni  very  jadiciously,  trbicli  are 
from  the  first  chorus,  the  first  song,  Bcco  ridente  in  deb,  and 
the  pads  immedialely  following,  as  far  as  our  recollection  serves  us. 
Tbe  metudics  of  Rossi.vi  are  bo  peculiarly  calculated  lo  excite  the 
fancy  and  impress  themselves  on  the  memory  by  their  mnrkcd  ac- 
ccotuatiou  and  tlieir  lively  spiril,  that  the  mind  is  continually  carried 
■long.  Ua.  Watts  bos  availed  hinueifof  passages  of  this  descrip- 
tion, and  conKquenUy  cannot  fitil  to  iateixst. 


»Ew  Duen. 


113 


Di  imili  patpili,  tbougli  heaid  for  Uin  tlioasudth  tuna  ud  in  m 
many  shapcE,  isiililt  beauLifulauditiUinter^infr.  Bsbhett'i 
unuigeineiit  is  full  and  rich,  and  his  variations  very  brillbnt.  Of 
ttic  four  we  contidei  tliii  duct  aa  the  moit  alltnctiv^  in  conMqueace 
of  the  oaplivnlioD  of  the  melod)',  and  the  bright  uid  glittering  fbnni 
■Qta  which  Mh.  Bennbtt  has  cntt  his  work.  Tlie  colincctiDg 
cadunzasafft- something  old-fashioned  and  coDimon  place. 


The  G,  t,-cr,  of  Pnmmiih  g'-'i>'i/  ■->'-"",  -''"'K  •l/'"-  Uraham  at  Ike 
Loiuhiii  Cxircrh.  The  -.iwih  fiwn  Thoi^mi.is  Siu'inis,  the  music 
cowposri/  hy  MisU;-  linnul.    I.ojido.i.    Clen;criti  and  Co. 

A  grand  senna — Mr.  Brnliam,  Tiiomsoii's  woids  and  Master 
Bvnct's  music.—  The  first  impression  from  IhU  associated  clinin  was, 
lliat  a  boy  who  could  venture  to  lusk  \m  infiiiit  strength  to  such  pur- 
poses, cmild  be  a  boy  of  no  ordinary  ambition,  and  llie  second,  de- 
riml  From  a  cursory  glance  at  the  song  itself,  via.i  that  his  daring  ii 
inpporlcd  by  asbaie  of  ^ility  beyond  the  ouitoraary  capacity  of  bx- 
Iteme  youth.  The  sceifa  is  in  the  key  of  C,  and  opens  with  b  tonw 
what  protracted  and  deacriptive  symphony  that  lead*  to  a  RolUtive. 
Thereare  strong  marks  of  imnginatioa  thnmghant  tbb  introdactory 
paK,  but  more  in  the  intervening  symphonies  than  in  the  voice  part, 
the  sense  of  wliich  is  disguised  liy  breaks,  Saiifl  chases  from  the  sky 
the  short-lived  twiliglil,  is,  for  inttiince,  inlerrupled  by  two  picturesque 
rilornels  coinins  alter  llie  wonts  swift  and  sky.  These,  honcver,  are 
tlie  uiiici!i:ctinfj  irTl[Hl^c^  of  Hincy,  and  constitute  perhaps  Ihc  most 
|)mriiM[i!;-  _viini((iiii«  ni'  liiriir.- cxi  clli-yii  i',  Seiaper -ccllem  quod  onipu- 
Ifm  h  n  i         .il  v,  Ml  Ii  '.vIuti  il  r:iii  be  justly  applied,  as  we 

ihiiik  il  in  (lii,  in^C'ru-f,  I-,  i-i  K-  ouri^iilcred  as  high  if  not  the 
)iii;lii:>l  'I'lii  I  ■  is  iii.il  \  [iii-fiy  r,i]>i,l  lull  lUrcct  modulation, 

Ihto.i-li  r.'Kiiivi'  r.r.iri  Jv  m  .\.  n-ii  li.n  Si  (.>(;,  'i'hen  tiie  relative 
Hut  kty.s  Eui:cccd,  tlic  rcciuiivc  clusi's  in  ii,  nnd  llie  Ming  bcgnKjnC. 
The  air  is  an  agreeable  andante,  changing  to  nn  adagio,  iriiich  i> 
sgu'a  quickened,  and  the  close  is  in  the  original  time.  This  arrange- 
ment is  dramiUic,  and  affords  scope  for  expression.  The  nccom- 
voL.  III.  nOi  IX.  a 


pammcDt  partakes  of  Ibe  generally  iinagiiialive  turn  of  llic  ciiliie 
piece,  and  atutains  and  enlivens  tlie  air. 

We  da  not  happen  to  know  the  ageof  this  young  aspirant,  nor  in- 
deed any  of  tlie  particulars  concerning  him,  but  he  is  dccidedlj'  a 
boyofenterprkeand  talent;  and  as  we  promised  at  the  outset  of  our 
vorlc  to  encourage  thie  advances  of  merit,  w  avail  ourselves  villiogly 
of  tiiis' opportunity  to  point  oat  to  all  those  trbo  are  disposed  to 
give  effect  to  such  a  nish,  an  abject  and  a  meaDij  and  m  trust, 
tbrougb  glangers  alike  to  bis  name  and  fais  penoD,  that  Uastsb 
Barhztt  will  feel  tlie  benefit  of  our  cordial  recommendation. 


Opmatic  AinfNta,Sti,a.BA5.    J^ndon.    (ioulillng  and  Co.  Cle- 
mriili  and  Co.  Chappell  onil  Co. 

We  noticed  the  commencement  of  this  work  in  n  former  article,' 
anil  ne  again  recur  to  it  inconsequence  of  the  excellence  of  the  num- 
bers in  continuation. 

.  Xo.  S  is  by  Mn.  Latovr,  and  be  bai  chosen  Car xrrA'a  beanti* 
ful  song  introdnccd  into  La  Ceneraitola,  bjr  Sicvob  Tosni,  Fra 
laUe  aagosde.  This  theme  ii  more  lult  of  expression  than  they  proba- 
bly wilt  believe  who  bare  only  iieard  it  lung.  Hr.  Latodr  baa 
treated  it  with  singular  judgment  and  elegance.  He  has  added 
very  little,  but  contrived  (o  place  the  most  striking  and  iinishcd  pas- 
sages of  the  air  continually  in  view,  and  to  re)Kat  them  in  such  kcvs 
and  in  eucti  generally  favourable  lights  as  to  impress  tiic  mind  of  the 
hearer  strongly  with  their  perfection!  His  principal  addition  is  a 
chnin  of  Iripleis,  which  diTersifyand  give  a  brilliant  condnsioa  to 
tiic  |iiecc.  We  arc  panicnlarly  struck  wiUi  the  lightness  and  grace 
of  tlie  eiidrii  kssoii. 

Tilt  n(  \!,  b  f  M[i.  ISics,  is  amongst  the  happiest  of  his  composi- 
tions in  llilskiiid.  Tlie  inlro'luctioii  is  highly  interesting  though 
the  noU'S  are  few.  The  air— Bhuop's  Slaj/, prjf'lhee  stay,  is  simply 
pretty,  and  although  Mb.  Ribs  has  worked  upon  it  in  the  baeknied 


OPERITIC  AIRS. 


115 


fonn  of  rariationi,  yet  he  bai  given  to  most  of  Dien  noTally,  rioh- 
ncsh,  and  beauty. 

Tlie  second  is  adroirable,  and  the  lixtli  ■carcelj'  inferior— indeed 
Ibey  are  all  good- 
Mil.  GiPKiAiii  PoTTBR,  in  No.  5,  bas  adoplfd  tbe  same  coaTie, 
not  liowTcr  with  Ibe  nme  lacosa.  We  prefer  his  introduction, 
whiob  contains  amall  parti  of  b»  labject,  iolerapertcd  vilk  great 
feolUig ;  and  tbi*  moTflment  ii  allogetber  fnll  of  KDtimcnt.  The 
subjact — poocSTOSAOB'fGirpel  Wemxr,  one  of  tlw  aweelett  he  erei' 
compoaed,  receives,  as  it  teems  to  m,  a  cbaracter  of  sadness  well 
suited  to  its  erptcssion  by  being  lowered.  Tlic  original  being  in  C 
aud  lliiB  in  D  lias  reduced  the  piled  seven  instead  of  elevating  it  one 
note.  The  variations  arc  generally  too  much  in  the  old  Ibrms,  but 
liie  third  b  veil  fiincicd  and  cnrioai ;  the  liflh  too  is  expressive  ;  and 
the  eighth  and  ninth  tomewbat  above  tht  common  toDeofraiiationi. 


The  AfiuMfatR  OA,  a  Blajbr  Thret  Fokes/  In/  W.  lUchardi.  LaD< 
don.  Power. 

Ttiret  TiniM  ITiree,  a  eomitial  GJee  for  Three  Vmxt,  wUh  Chomt; 

Ihr  Words  by  W.F.  Collard,  IheAfusicbySirJ.  Slewruon,  Mus, 
])nc.   Lunilon.    Clcinenti  and  Co. 

The  fiisl  of  these  composilions  (for  two  sopranos  and  a  liaw)  it 
drsmalic  in  ils  form  and  general  style — it  coinbijit's  description  and 
personification,  and  becomes  necessarily  picturesque  aud  drclamatory 
as  to  its  music.  We  slioiild  liken  it  to  that  cla^s  uf  literary  produc- 
tions wliieh  lias  lately  been  dcsignafcil  by  llie  Iltih  ambahus,  by 
which  is  understood  a  style  of  ptcfcnsion  rather  she)Ty  than  solid. 
If  it  Ik  an  early  eHurl  of  a  young  tnan,  it  does  not  augUf  ill ;  if  that  of 
a  more  practised  composer,  it  is  not  in  the  best  taste.  Wc  baveelta* 
'^vllcrc  rcm-.irkcd  upon  tbe  dearth  of  glees  for  two  trebles  and  a  bass, 
since  which  we  have  met  with  Mb.  Horsle?'s  collectioa  oi  six, 
ud  tbongb  tome  of  hit  earliest  productions,  (op.  3)  the;  «e  ohule 
and  el^ant  in  a  lugh  degree,  presenting  a  pure  model  for  mch 
vritiogi,  and  maabrace this  opporlunity  to  poiuttlieni<Hit  totbose 


Digiiized  by  Google 


NEW  GLEEB. 


■nho,  like  [iiirsi'Ivi;s,  may  have  aouglil  such  tilings  vrilhout  knowing 
cx^ictly  nlicro  to  find  tlicni:  Anatlicr  excellence  (bey  poneM  ii, 
tli:it  lliL-)'  arc  cniliionlly  calculnled  to  be  8ung  withaut  aooomfiani- 
muiilgtlic  genuine  mclliad  of  parl-dnging. 

Siu  JouK  Stevbsbok's  glee  is  Goavi?iiU  in  Ub  alrongert  leiise, 
and  we  estseut  it  rich  in  that  bold  and  generaDa  spirit  both  is  tomi 
and  Bcnliment  vhtcli,  well  timed  and  given,  adds  lest  tO'tbe 
flavour  of  the  nine,  and  kindles  llie  suddcu  flash  DfaiilaialioB  which 
(like  tlic  burst  of  a  pack  of  fox  boundii,)  forms  Ibe  extalic  nwnuait  of 
boon  companions.  We  look  upon  tlic  Iriiili  to  be  belter  judge*  than 
(he  Eaglisli  of  the  merit  of  such  a  work,  and  we  happen  lo  know  that 
Uie  Beef  Slesk  Club  of  Dublin  lias  decided  with  especial  farour  in 
behalf  ofthis  glee — aulhorilj'  indisputable.  To  our  underslnnding 
of  the  tbtng,  one  of  its  principal  recoiomeiidutiouB  is,  tbat  it  is  full 
«f  ih»  exptU  du  ciH)  without  degenetatbg  into  ooanenen. 


^OrgA  me  not,  lAo'  thus  wc  part ;  composed  by  George  Goss.  London. 

Pbillipa  and  Mayhcw. 
Beamieitbohlikeyou;  bj/Dr.Jai/.  London.  PhillipB&Maybew. 
Tkt  SMne  of  Lote  !  byDr.Jay.  London.  Phillips  &  Bfajr  hew. 
The  Snow  on  Btdt  of  Smesj  bff  Lemi  Lee.    London.  Phillipt 

and  Mayhew. 

Every  Hour  I  Md  thee  more/  by  J.  Blmitt.    London.  Power. 
When  Love  ma  fretbfrom  Mt  Cradle  Bed.    London.  Power. 
IfyeaHigblatidLadXemeeisbyLeomLee.    London.  Phillips 
and  Ha^hew. 

JheMmd  with  a  Uae-beammg  Eye;  by  J.  Etadin,  Esq,  Loodon. 
Phillipt  and  Hajliew. 

There  Is  scnrccljr  nn  individual  in  the  kingdom  perhaps,  except  a 
Tcry  few  most  largely  engaged  in  the  sale  of  music,  wlio  can  form 
any  competent  notion  of  the  mulliludc  of  compositions  which  now 
issue  from  the  press.  In  proportion  to  their  numbers  the  task  of  the 
Rerlcwer  becomes  more  nice  and  difficult;  for  it  seems  lo  be  ex* 
peeled  that  lome  general  idea  of  tlie  talenls  of  the  rising  senmrtisa 


117 


of  composers  dioiild  be  afforded,  ai  well  as  justice  done  la  tlioso 
ffhu^e  acknonkdged  excellcucc  makes  it  almost  im|H'raIivc  that 
Ihcir  works  eIioilTiI  he  Ihi;  flrst  ulijoct  uf  liis  ri'^iinl.  In  order  to 
lecoDcile,  so  far  as  we  can,  (bese  conflicting  claims,  nc  /ind  it  necc6- 
wry  to  (tiasi,  wBocding  lo  tbetrpropaTtioMtrf' merit,  k  series  of  those 
(WapoaitioM  of  the  niinoronler,of  which  llltleon  be  (aiiljwparalelj. 

Theballnds  vhoM  thteave  have  ben  broo^t  together  just  reach 
nedfocri^,  Mid4o  ootMar  aibove  it,  ytt  mwy  perinpi  rise  a  little  each 
abore-each,  from  (he  flnt  to  the  lait.  Dr.  Jait'i  compoiittana  are 
deformed  bj  bimU  gracMiolei  of  anIieipatioB  here  and  ihene,  which 
are,  we  beg  to  assure  him,  not  only  in  bad  laste,  but  most  iDjurioos  to 
the  sin^r,  since  thej  lead  to  engender  an  habitual  want  of  flniuieM 
in  coming  at  intervals,  fiilat  to  the  best  principles  and  parposes  of 
tooal  art.  In  this  list  the  amateur  beats  the  profetior,  it  is  to  be 
obverrcd,  whick  ia  ballad  writing  does  not  seem  lo  foe  a  solitary 
iiutanoe. 


1  love  tkfe  dearli/ ;  bi/ His  Grace  the  Duke  of  Marlborough,  London. 

Cbappell  and  Co. 
Oh!  wear  for  mc  Ihis  blooming  Roie;  by  His  Grace  the  Duke  of 

Marlborough.    London.    Chappcll  and  Co. 
Iliiii  !c/jo  fighs  for  l/iee ;  bjj  J.  Emdin,  Esq.    Lnndon, — For  tlic 
"  Autlior,    Pliillips  and  Mayfiew. 

If  e'er  Compassion  Shelter  found;  hy  G.  Lanza,  London.  Gfiap- 
pell  and  Co. 

Inform  me,  O  delicious  Kits ;  bjf  O.  Tfich.  London.  Clementi 
and  Co. 

"Ht  tain.  U>  deck  thy  Bnm  wtA  Parh  ^  by  Joseph  de  Pinna.  Lon- 
don.— For  the  Author.   Clementi  and  Co. 
The  par&ig  Look  )he  gone !  by  Walter  Tun^utl.  London,  Power. 

To  the  list  of  noble  composers  we  may  now  add  a  Dnkc,  the 
descendant  of  the  Honsc  of  the  illustrious  Marlbojiough.  His 
Grace's  ballads  have,  from  their  peculiar  accentuation,  something 
uftlju  air  or  national  melodiea,and  rankjust  above  the  class  of  songs 
ttu  liavc  just  dismiised.  They  ue  dislingiiuhed  from  the  common 
hj  their  qiiainloess. 


118 


NEW  BALLADS. 


Mr.  Lanza**  air  is  remaikable  for  ils  conjunctiTe  meoiblance  to 
*■  Sleep  you  or  tBokeyou,"  (he  trio  ia  The  CaiUe  Spectre,  with  Ibe  exact 
notes  of  vbicb  it  commences,  and  to  Mr.  Braram's  celebrated  "  Js 
there  a  heart  that  tterer  lovrd,"  (o  which  there  is  soraeirhat  of  a.  gtae-. 
ntl  likeness.  We  mention  these,  but  reallj  thete  is  no  end  of  •iniili' 
tudes  in  modern  ballads,  and  therefore  if  thete  be  not  maaifert  and 
direct  plagiarism,  (hey  amount  to  nolhiag  more  tbnn  proofs  that  new 
ami  more  appropriate  combiiiatioRS  of  old  though  sltort  phrases  is 
all  Iliiit  is  to  !)e  hoped  or  exijected. 

M 11.  jV  icKs's  simg  has  a  good  share  of  melody,  and  is  particularly 
filled,  by  ils  vrorils  and  by  the  latitude  it  allows  to  a  siugcf  of  ex- 
pression, fur  the  tabic,  where  we  think  it  would  be  fonud  particu- 
larly effective. 

Mn.  Di:  Pinna's  is  the  taste  of  an  earlier  date,  and  is  sounder  and 
swccli'.r  llian  those  vic  have  put  before  il.  Tlierc  is  one  miserably 
bad  vocal  p.ns.sage — t!ic  arpeggio  of  the  chord  of  E,  in  a  division  on 
the  second  page.  Any  arpeggio,  of  a  common  chord  especially,  is 
always  (o  be  esteemed  (cenBidering  the  rule)  as  more  instniiiwiital 
than  vocal — ^Ihe  instances  where  such  combinsitioDS  can  be  incoes^ 
folly  employed  are  theexcepltons. 

Ma.  ToBHBULi.  has  giYen  a  pleasing  and  spirited  adaptation  to 
words  which  have  been  set  before,  (by  Mr.  Walmiilbt.)  He  hu 
hawever  taken  for  his  tbeme  <uiiconsclonsly  we  doubt  not)  a  rtnin 
from  one  of  (he  national  airs.  We  r^ard  hia  song  as  very  agreeable 
and  melodioDi,  and  as  possessing  fiit  more  originality  than  beloogi 
to  the  million. 


119 


OhI  Woods  of  Green  Erin;        fFesle^  Doifle,  Eiq,  LondoD. 
Power. 

Oh!  iflhoieEjfudecehemmtj  bySirJtAHSteoemaifMut.  Doc. 

The  Mgk-bom  Soul,  Jiedt.  ed  aria,-  by  George  Perry,  of  Norwich. 

Loudon.    PbilHps  and  Mujliew, 
Thou  uihite  rolling  i^ia;         Writ.  Ilorsky,  lUttt.  Bae.  Oxoa. 

London.    By  the  Itojiat  liiatilution. 

In  the  first  two  ballads  we  ascend  to  a.  Iiigli  though  not  to  the 
highest  ordei  of  this  spccius.  Mil.  Dotle's  has  the  ehaiacterblic 
expresiiveness  of  his  writings,  Sm  Joh.n  Sikvbnion'i  the  melodj 
and  sneetneu  irhich  captivulu  so  mucli  in  bis  songs.  We  cansider 
these  amongst  the  beat  produced  by  eitlicr  hand. 

Mr.  Pbbky,  (a  ^oung  man  whose  genius  is  cramped  but  cannot 
be  repressed*  by  tlic  incessant  labour  of  superintending  ilji^  Drclics- 
tra  and  leading  the  band  of  the^  Norwich  Company,}  has  given  us  a 
bass  song  for  an  orchestra,  consisting  of  arccilalive  and  bold  allegro, 
wtd  an  andante  cantabile.  This  is  after  the  model  of  Dr.  Calcolt, 
adopted  both  by  Mr.  Bishop  and  Mr.  Horsley  in  his  Tempest,  a  song 
vbicli  bas  not  yet,  from  not  having  beeu  sufficiently  often  Bung,  been 
ialj  appreciatedj  but  which  is  alike  splendid  and  beautiful.  .Mb. 
Fskbt'i  is  certainly  composed  with  ability,  but  the  middle  move- 
ment is  in  a  style  never  very  powerful  nnd  now  a  llltic  pass^,  the' 
tiieatricHt  maniicr  of  Stcield  in  Ijis  "As  bums  lite  charger,"  and 
like  songs.  The  cantabile  p:trl  is  sweet  and  melodious,  and  there  ii 
unquestionably  tlie  indication  of  a  mind  of  power  in  the  whole. 

From  Mb.  HoftSLEr's  great  name  our  readers  will  naturally  ex- 
pect a  composition  of  mature  and  solid  excellence ;  there  are  accord- 
ingly the  marks  of  thought,  science,  and  that  delicacy  for  which, 
above  all  their  other  qaalities,  the  works  of  this  gcnUeman  are  distiii- 
gaiihed.    Tbesongts  wholly  descriptive,  and  the  contrast  between  a 

*  Within  1  Tcry  short  period  this  most  induitrioui  mndcian  bos  compoied 
nearly  tno  entire  oratorios,  one  of  which  hu  lioen  performed  entire,  uda 
part  of  tlie  other.  They  are  highly  creditable  compnitloii),  and  tbdr  author 
(niocally  merits  patiouage,  both  by  induitry  and  talent. 


120  NEW  soxes. 

breathing  mcloJ^  and  a  pi<;tiircsqtie  accompaniment  is  finely  drairii 
and  kept.  Mr.  U.  u  not  a  maa  to  corapromiBe  bis  rcpalation,  and 
in  tbu  little  piece  there  u  the  puritjr  of  taste  and  of  tmaglnalion  nhicb 
is  riiible  in  all  he  has  done — the  sane  graceful  Sow,  tbanme  aimpll- 
cUj  aad  delicacy  of  expression.* 


J  Muticat  Tade  Hfearni,  hebtg  a  compendious  ttUn^ictiim  to  the  whole 
Ah  of  Mmie.  Part  1,  amtdtibtg  theptindplet  of  notation,  tke 
gamut  or  great  scale,  Sileroab,  dialomc,  chromalic,  and  enharmonic 
scales,  keys,  and  their  modes,  transposilioas,  Src.  by  W.  Keilh, 
London.  Keith. 

We  recommend  this  lifllc  work  to  tlie  notice  of  Iwginiicrs.  It 
comprises  a  greater  qtiantilj' of  information' concerning  the  first  rn- 
ilinienls  of  musical  instruction  in  a  more  reduced  and  popular  shape, 
Dian  nny  Ixink  of  llic  kind  vie  ever  mvr. 


•  Wfi  haru  just  rt>fciyoii  (liu  Asjlian  Hjmni  bjr  this  oompiver,  bat  u  Onsji 
reach  wlieri  our  time  is  too  short  to  do  jastice  to  tbe  simple  nujes^  and 
beauty  of  these  compositions,  we  defer  the  extended  nodce  they  deserve  till 
oar  aeit  uariwr. 


Digitizefl  by  Google 


Ml 


GKAND  MUSICAL  FESTIVAL  AT  BIKMINGIUU. 


eihibiliitu!  of  the  progression  of  an  art  now 
grailuallj'  wianin^  iU  cas^  viay  into  the  BiDUscments,  babilS)  and 
nations  of  (be  Englnh  natian,  nil!  aflbnl  as  at  intennils  yerj  in- 
terestinjr  topic*  for  diicunitm,  and  ire  doul)t  not  vet;  splendid  ex- 
amples for  illDstration  as  lime  goes  on.  The  fint  of  these  that  has 
preaenlcd  itsdf  ontof  the  Metropolis  since  our  votk  coinifaenced,  is 
the  meeting  wtiich  stands  at  the  head  of  our  article,  and  which  deserveii 
record  and  com  mc  mural  ion,  not  only  on  account  of  lis  superb  con-  . 
ccntratioii  of  the  powers  of  art.  m  wliieh  it  is  perhaps  unequalled  since 
the  Abbey  performances,  but  also  for  tlic  influence  over  (he  public 
mind,  and  (hp  ccncral  praisf  inlicicni  in  such  grand  ilisplnj's,  nni! 
fur  liie  atlininiblc  iisi's  (o  wliictj  tliiif  influence  may  be  applie:l, 
C;icli  and  all  ol  liicsR  pro  pi' ri  [(.•.■.  nl!on;  siibjecis  ofa^recable  and  nse- 
f  1      L    pi  I      I    I  If  moral  science  and 

the  philanthropist :  am!  wo  arc  amu.-.L'  those  uho  delight  1o  follow 
out  Chi'SG  causes  and  euiisi'ijni'iic^fs  In  ilieir  results  upon  society,  be- 
cause from  lliom  m;iy  hi-  di  duccit  the  moral  happiness  as  well  as  the 
scientific  perfect  inn  hIiioIi  isci)inii>unica(cdtoapeopleandal(atnedl>7 
tbem  through  (he  sednloiisi^nltivalionof thefinearts.  Snchappean 
to  iw  to  be  the  philosophical  view  which  it  shonid  be  the  earnett 
endeaTOnr  of  all  who,  like  uurselret,  are  employed  in  analyiing  the  ' 
principlesandMttlin'g  the  pretemions  of  these  puisuils,  to  Inculcate 
u  ihey  proceed.  There  needs  no  a^nment  at  titia  time  of  day  to 
prove  the  general  proposition,  that  to  add  lo  gennine  refinement  is 
to  bumanne  the  mind  and  to  improve  the  biggest  and  the  best  plea- 
snres  of  our  existence;  we  shall  howercr  impart  new  ai»xssionsof 
strength  and  the  most  enduring  confltmation  to  this  binclicent  prin- 
ciple, if  we  lake  tare  lo  slievv  it>  operation,  enforce  by  instances  Its 
direct  influence,  aud  to  connfcl  the  most  bcauUful  of  its  effects  with 
llift  causes,  wheri:ver  opportunity  is  allowed  us  in  such  narraliona  as 
Unit  nhicli  isuLnut  lo  fuUuw. 

The  iidiubilaiils  of  Ci(niingli;Lm  liad  long  been  uuinberud  amongst 
the  most  sedulous  and  taslcM  cullivalurs  of  muEi<:,  when  a  grauU 


Digilized  by  Google 


122 


BIRMINGHAM  MUSH  AI,  FESTITAI,. 


feaUval,  fadd  three  years  ago,  allraclcJ  a  large  portion  or  (lie 
nalbnal  attentioii  to  a  public  enlerprize,  that  could  in  one  week 
extract  from  general  curioaily  and  individual  liberality  a  sara  nf 
eight  thntuand  pounds.  The  renewal  of  the  experiment  with  in- 
creased success,  has  still  further  excited  anivenal  adntiiation. 

In  laying  bare  (he  causes  \re  must  firat  invite  atlenlion  to  the  fact, 
that  art  is  here  called  in  (o  aid  the  relief  of  suflering  indigence.  The 
profils  arc  appropnaled  to  the  funds  of  the  llirminghnm  Hospital, 
an  iiistitiilion  arid  nti  object  of  sufficient  extent  and  exeellence  to 
command  tlie  [):iUaiia^c  oi'iill  the  opolcnce  and  nil  llie  benevolence 
of  llie  luwii  iiml  iici;;lil)Oiiriiig  ctMinlry,  wliicli  nre  thicklv  peopled 
ivilli  rank,  amui'iice,  mid  tLi-Ii\  Tliig,  toi,'.'llier  witli  t!ie  general 
populousiiess  of  the  phite  ila  viciiinp',  fotm  tlic  foundiilioii  of 
the  well  and  conipreheuBivtly  laid  denigii.  Tlie  gentlemen,  hovf- 
ever,  who  conduct  this  grand  conjunction  of  cliatily,  art,  and  fashion, 
appear  to  be  pbilosopliicnlly  conversant  with  the  principles  of  our 
comraoti  nature.  To  these  they  make  appeal,  and  they  Judiciouily 
enlist  that  love  of  patronage  and  that  desire  of  being  a  party  to  great 
designs  which  are  inherent  in  all  men.  They  have  so  ordered  their 
beneficial  project,  that  lo  patronize  or  to  assist  becomes  a  subject  of 
personal  satisfaction  and  of  public  coogratulnlion.  They  have 
roused  public  spirit,  nud  they  have  generated  an  «/in7<fecorf»,irbicb 
takes  for  its  signs  of  union  the  honour  and  prtupertly  Ihe  (own, 
the  love  of  science,  the  estimation  of  (he  great  an<l  the  scientific,  and 
all  these  arc  bound  up  in  the  bond  of  charily.  The  wisdom  of  this 
course  is  shewn  in  its  success,  and  they  are  virtuous  as  well  as  wise 


Of  their  pre.eminent  success  in  securing  the  good  offices  of  rank  and 
affluence,  the  following  list  of  persons  will  prove: — 

Tfie  Right  Honourable  the  Ki.ui.  nf  Diirtmoi'tti 


administrators  wlio 


foibles  lo  the  purposes  of  good. 


Doke  of  Dcionshiro  Earl  of  CtoLumll 

Warqoia  of  llcrlfonl  Karl  Gow  r 

MarqiOs  of  Aiigl'-^''^  Viscount  D.ullcj  k 

Earl  of  Deubigh  Viscount  Curzoii 

Earl  of  Plymouth  VisMont  Anion 

Rati  of  Aylesfbrd  tHscoDnt  Gnmiillc 

Kail  of  Warwick  Vucoant  Newport 

Karl  Talbot  Lord  MkldtetoD 

Eail  of  Craiea  Lord  Bagol  . 

of  Harrowby  Lord  Calthorpe 

EariorBnulford  Sir  C  Mordannt, 
Earl  Beauchamp  M.  P. 


Sir  E.  C.  llarloiiii,  Bart 
Sir  Jospjih  Smit,  Batl. 

D.  S.  Dugdalc,  Ksq.M.P. 

E.  J.lJttHonjiCsq.M. P. 
Ueneage  Leggc,  Eiq. 


Sii  (:,v.v  Stipwith,  Bart, 
"^ir  ll,ili'crti.i,«l,7,  Bart. 


BinHniCHAH  MUSICAL  FfiVITTAL. 


123 


Music  we  Iiavc  eaid  is  ardently  pursncil  nnd  liiglilj  cnllivalrd  at 
Itirniiiigliaiii.  Amongst  its  pcrnmncnt  cslablisliiiiciils  (iii^litiilcd 
ninl  iioiirislicti  by  public  spirit)  is  a  society  under  Ibcnnmc  of  "  Tho 
OnATrinid  CiroiMi.  KoCiETV,"  whirli  iM  («t  nrc  (-lil)  iil„;ta!ly 


..■fill  n 


licr 


t\  liniid  111' ctioni!-  siiin-i-'i-s  in  ri>iisliiiit  Iriiiniiig  ;ind  pro;;ri:ssioii,  itl  all 
linu's  rmiilons  of  rLiijiloi  iiig  ^rid  iiicrcasiiii,'  llirir  powers,  aiiil  uc- 
liiiillv  ;(.dvaiicin5  ii:iily  ln«;irils  llic  liiglieil  pcrfrcl imi  bolli  by  prac- 
tice and  accasiuijal  iiiti;imi\tui(;  willi  iha  finest  perfornicrs  of  llic 
mclropolu.  Thus  tijc  materials  fur  a  solid  fabric  of  musical  excel- 
lence are  prepared  in  ricii  jirorii^bn. 

These  arrangements,  ivliich  could  only  liave  been  matured  bj 
melliod  and  perseverance,  prove  the  excellence  of  tbe  deugn  nnd 
execution,  fai  it  is  tlie  nntural  tendency  of  both  not  alone  to  onsnro 
Ibe  able  anitlance  of  the  individnals,  but  tn  enlarge  thai  Circle  of 
interest  byall  theii  cnnnections,  which  it  is  so  impnrtiuil  to  incteaw 
and  extend.  The  plan  is  indeed  as  grand  and  complete  as  possible,  ' 
for  Ihc  conductors  in  ttieir  engagements  have  shewn  a  delenninatlcHi 
to  cumpreheiid  all  llic  pcrA'Ctinn  and  nil  llie  powers  of  atL  Perhaps 
there  was  scarcely  a  pinglo  priilVssiir,  vocal  or  in.slruineatal,  of  BG' 
knowledgcd  snpiTioiily,  (willi  l!ie  r\ccplinn  of  Mn.  Bkabah,} 
I  tn  1)1'  ((Hiiiil  in  (I':!'  li't  wliicli  follows : — 


!'/: 


.  Pr 


Sis„„r. 
Ml.  Vi 
Bcgrfct. 

Mr.  Bcilaoij,  Mews.  King,  G< 


Hiss  Sj-moiiclsi  Mi.s  J.  Hrtditr,  siiil  Miss  Slcphrnt. 
Mr.  W.  Knyveli,  Mcsts.  Beaie,  Eraiii,  WbiU,  and  %iMr 


VioOu. 
Mettn.  Cramer, 

W.  drie^bicb, 
Wagslatr, 
Ireland, 
Cooke, 
.  Ranlbs,' 
Simonet, 
Woodareb, 
Marshall, 


ig,  and  Signor  Ambrogltti. 

JnSTRU.VEXT3L. 

Mr.  Bociis-i,  Pcilal  Harp. 


Msasrj.  I'igot, 
I'liikiiip. 
Walkins. 
Aiiiimon. 
GaUh. 
0«ry, 
Taylor, 
MaTSball.jun 


Mcisri.  Tomlin, 

Pitman, 
Dori, 
TelMiy, 
nodgetts. 
Fiolat. 
Mmn.  SpagDoletll, 
B.  Ashley, 
Cfaallooer, 
Nioki, 


BIRMINGHAM  HUflCAL  FERITAt. 


Msiics .  Daniels, 

IWtolozzi, 


VhloiioettM. 
Meiirt.  Lliidlev, 

II.  Grieitiacli, 
C.  I-lndlev, 
W.  Undkj, 
Bnmkg. 

Double  Bniics. 


McMra*  Andre  and 
Dimmui 
(Fram  hit  Msjci^ 
Uottwhcdd  Swid.} 
Oboa. 

Mmrs.  Griesbacb, 
Knkinc, 
Witton, 
KnowlM. 
Ftulet. 

MeMri>  Ireland, 
Price, 
Stannier, 
SIHgh. 
Clarindt. 

Melire.  WilliiiaH, 

Rriiiill.'y, 


MetRs.  Ilolmes, 
Tnller, 

Phillipt. 
Tninpeb. 


Tin  Voc 


„.  Org, 


Norton. 

Trombom, 
Bau—JAt.  Albrechl, 
Tenor — Mr.  Bchrcns, 
^tfo— Mr.  Gilbert, 
Canto — Mr.  Hardy, 
(From  bis  Majesl}'''! 
Household  Baud.) 
DoubU  Drums. 
Mr.  Jcnkiiisou 


(.rfo 


,iri>.fo„r 

Tlio  IV^li¥;il  ciiiiiiiii  iici'il  iiiiii  the  celebration  of  divine  service,  at 
llii-clinrch  ol  J^I.  I'liiHii,  in  the  roaimet  of  llie  cathedrals,  A  double 
choir  ofbixty-fivc  sdccli'd  voices,  on  each  side,  petforincil  the  vocal 
pnrls.  The  principal  im\o%,  quailetU,  &C.  E>cing  sustained  by  Misi 
Stefhenr,  Miss  Travis,  Mits  Stmonds,  Hhssbi.  Knttett, 
Vauoiian, and  Bbllaht.  Tbeseivice oommDicnced  by  Oblakdo 
GiBBONa's  full  antliero,  ffoiamahloiMe  Son  of  Dtnid.  It  ii  alivcKt 
nc-eillpss  to  sliite,  tiiat  thorewu  00  accoitipanjirig  instmnicnt  but  tLe 
org^iii.  Till!  ji^alms,  chanted  by  one  liundnd  and  thirty  wch 
voicfSj  liad  ;>n  uncommonly  fine  effect.  Tratebs's  Tt  Devm  tad 
;  were  selected,  and  llie  Oiorvt  Pair*  was  by  Ui.ov 


Cboft'h  Ji 
■nd  Cooke. 

I.UTKGa's  IIVlllll.  II)  WHICH  ItIC  V 

voice  gave  cunipipte  encci,  and  D 
righlenusiiiss,  was  alau  pcrliirmcd, 
FuilcEi.i/s  O  j^hc  lhanls.  Dft 


Mis 


Stei 


rului 


and  rich  piirily  of  lier 
:bn'9  anthem,  O  God  of  my 
anthem  allier  the  sermon  waa 
hallelujah  chorus  con- 


cUidcd  (he  u.-i  viui:,  whicli  has  rari^iy,  if  ever,  been  equalled  it 
ye\t^,giAuiiiiai,  and  sublimity  of  effiicl.  In  the  absence  of  tbe  Bishop 
.of  Oxford,  theserraon  yias  preached  by  the  Kev.  Charles  Cutlia, 
nclat  of  St.  Hailin's,  Birmiosham,  and  the  discourse  «u  ia  behalf 


125 


of  llic  clinrily.  I'lie  [lev.  Ilul>crt  Clidon,  rector  uf  St.  Nicliolas,  in 
WofCMlcr,  t^faanled  the  service,  and  tbe  collection  was  mode  by  the 
Countesies  of  Durfmoulhi  Oroavcnor,  Gallowaf ,  and  Clonmelt,  toge- 
ther with  otber  ladies  of  distinolioR,  on  thii  and  tbe  succeeding  mora- 
ing*.  W«  notice  theoe  facls  to  shew  with  wbat  proinptiinde  and 
public  spirit  the  objects  of  the  meeting  are  studied  and  promated. 

In  perfarmancea  so  extended,  it  ii  alilce  impnisibte  and  unneces- 
Hry  to  carry  our  ilescription  [liraiigli  every  pnrt  of  the  music,  but  it 
b  desitabli:  to  iierjictimlc  the  ability  anil  variety  with  which  the  m- 
lectionH  were  mndf.  Wu  shall  therefore  iatert  the  bills  ;il  length,  and 
infroduec  aueb  remarks  hh  seem  (o  be  called  for  by  p:irlic(i1ar  ciccl- 
luncEs  or  cliccls.  Of  the  general  merit  of  the  principals  so  much 
ii  known,  that  particular  sciontific  descriptions  would  be  also  redun- 
Jnnt.  Thiaftnsa  scene  of  compelition,  where  iheir  powers  were 
tuked  to  the  utmnst ;  aiul,  sf,  Iht'  jiiii<;itieril  ul'  thi:  coniluclois  had 
sllolled  to  each  individual  pii-ros  wliich  were  best  ailapli'it  tu  the  pro- 
per style  and  manner  of  each,  tbe  results  would  ol  course  be  of  the 
liigliest  kind. 

Tile  evening  concerts  were  opened  on  Tnesda;,  October  Sd,  at  the 
Theatre,  by  the  following  selection: — 

3CT  r. 

SYMPHOW  (No.  7.)    Hanio. 

SO}iG,Uis3S\i,osos,"Deh!calma."   .,  Pu'diia. 

OLIJE,  ftie  feicet,"  Mark'dyaa  htrege."    Spoffbrth. 

REGIT.  edARIA,SigHor  AiiHROanTi,"  CimtlSid,  cmptlium,"  Fiotatsnti. 
NEW  OITETTO  (MS.)  for  Ifarp,  Clarinet,  Oboe,  Flnte, 

Horns,  Bsitoon,  and  DonUe  Bus,  Messrs.  Boghsa,  WiLt,. 

KIN,  GnioBftcn,  Irelahd,  Messrs.  PnniDES,  Holmes, 

and  Anfossi,   Bochss. 

R.\T.T,An,  Mi«St!:rT!rN=."i;j/(;'<'riiH;jit*J,"    Bishop. 

SCKNK.  )ia,%  „n,  /)...,■,■>/ '.■r,'-  (Tvrlnnic  Lo>e).  MiS9  T«iVH, 

.Mcsrs.  Knvvi.-iT,  ViL.uiix. aiiii  UkllAuV,    Piircell. 

ARIA,  SiB„..,-aC:an,:,,  " Tromlm,"    Pueitta. 

FINALE  f  first  Act  rf  Fignro),  "  iVori  di  iHfri,"  J 

The  Vocal  Pari)  by  Jiig.ioM  (.oiuu,  .Shdame  Vestris,  Miss  TuATts, 
Sigiiori  AiuitouETT[,  litbiiFZ,  .^ll'^s^^■  Blu.aht  and  Beale. 

OVERTURE  (Zaulitrnoltp),  uilUhe  Mmpmcit  fromn^n.hrs 

LesEon.; ,    Moznrt. 

Arraoird  {a<  a  full  Bund,  lij  Un.  Gieatokex. 

SOJfG,  Mr>.  SiLMOB, «  Suieet  bird,"  {Tidino  obligate),   Huiilel. 

TKIO,  Hiss  Snsuiiis,  Hesais.  V^uauAif  and  Billahv, 

"Hertiia  bhom,"   W.Knyvell 

SONG,  SIgnor  BigbeZj     Pria  the  tpmH,"  (II  Hatrimotiio 

segr«ta},   '.   Claiarosu. 


126 


BIRMINGHAM  MUSICAL  FESTITAL. 


CONCERTO  VIOLONCELLO,  Mr.  Libplkt,   Uadlrj. 

SONG,  MmSTBruEMs,  " Auld  Robin  Gmj/,   LacKi. 

AlBS,vilh  Vamtiana,  Uftip,  Mr.  Bociiia. 

DUET,  "Conpmiermi,"  Mn.  Salmon  anilSrgnor  AtiBBOaEni,  Fionnuiii. 

FIXALB  (first  Act  of  Cosf  faa  tutti)  "Dare  ion,"    MoMrt. 

The  Vool  Partg  by  Mn.  Salmon,  SignonCoRRi,  Madame  Vamii, 
Air.  VwauAK,  oud  Signors  Ahbrooeiti  and  Bbgbsz. 

Tlic  conceit  was  Ird  by  Mbbbsb.  Cbaher,  and  the  power  and 

polisli  of  Ilie  instrumenlnl'  part  of  the  performance  wur  fully  cvincpd 
by  llic  sj'miihonj'  with  nbich  it  b^tin.  In  Ihc  andante  a  sliglil 
confusiou  Ibr  about  half  a  bar,  occasioned  hy  some  miiunilcr* 
standing  as  to  llie  repeat,  aruse,  but  nitli  ihis  exccplion  (probably 
senreeiy  in^tccivrd  nut  of  tlic  orcheslra)  the  execution  might  be  saiil 
til  Lc  as  iinlVcl  In  ilstind  nsit  could  be.  The  overture  to  Ike  Zau- 
berlhiiie.  nlso  uai  never  more  csquisitelj  done,  and  profcesore  ore 
ubnosl  a-t,'cil  as  (o  (he  superiority  of  this  composition.  The  other 
inslruiuL-iilal  Mr.  LiMDi.Br'»  and  Mb.  Bochsa's  concertos, 

were  unique.  It  is  pertiaps  to  be  doubted  whether  any  proressor 
will  ever  again  arise  who  shall  be  to  fitted  by  nature  to  BlIainmeDt 
at  the  former  gentleman,  Sat  he  wedi  himself  literally  as  well  at 
'  Dominally  to  his  violoncellD.  His  fancy  and  his  fadlity  are  alike 
admirable.  Ma.  Boouba  is  a  performer,  whose  extraordinary 
genius  and  execution  ve  hare  before  spoken  of,  and  upon  this  occa- 
aiou  he  called  forth  all  hu  powers.  But  he  waa  not  duly  appre- 
ciated. The  harp,  iiowcser  heretical  il  may  be  against  the  dignity 
of  niinsfrclsy  ancient  and  modern  to  say  go,  is  not  an  tnilrumenl  to 
iiiilirctaso  fast  an  audience.  His  suited,  peculiarly  soiled,  lo  the 
grncKfiil  Ficiili  incut  that  aoraelimes  kindles  round  the  circle  ofclegant 
soci.  l.v,  iiul  ils  raptures  arc  nut  for  the  public.  Ma.  Bochsa  can 
jicrlotni,  ami  lie  did  on  this  occasion  perform  alt  that  can  be  done, 
bill  Ihetirc  t  iliil  not  respond  (o  the  effort.  And  why  ?  the  rapidity 
ami  heanly  of  tlie  tunes,  (lie  fire  and  the  palboa  of  the  player,  were 
lost  w  .jvu  e. 

Among  the  vocal  attractions,  Miss  Sy.monbs's  Drh  Calma,  which 
'  was  encored,  in  merits  encouragcincnt  probably  to  (he  rising  talent 
oranativcof  the  town,  MibjStbphens's  ballad  of  JuWJJofiiHGroy, 
Mhs  Conni's  Delta  Tromba,  were  finished  specimens  of  the  art,  in 
simplidty,lendcrnes8,  pathos, and  execution.  SiajiobBbqbbz  hoi 
0  very  fine  voice,  and  the  selection  of  Ciiia»o»a'«  celebrated  aria 
spoke  well  for  his  taste,  which,  when  lime  has  alittle  more bmIIo wed  it. 


BIBMINGHAU  HURICIL  FUHVAL.  127 

willlitlliimtocniineace.  Sir, sou  Aiibrocetti  woulil  howevrrltaie 
carried  away  the  palm  of  pupi(];ii  ify  liy  Itis  "  Ciipcl/im  Oipt/hni," 
n  slyle  of  dramatic  orchestral  iiinniiu-inii  aii[l  voral  excciilimi  but 
ncvtj'  beginning  to  make  its  way  generally  in  lliis  conrilry,  had  not 
Mai. 8a lhom's  Saeet  Bird,  with  Mb.  Chaiier's  accompnniment, 
■acceeded  to  vindicate  the  dominion  of  higti  fanlosj'  and  the  cliarm 
of  nasical  inipiniliiHi,  demooitrated  bj  Ilie  captivating  infiuencts  uf 
nneqaalled  bdiit^  and  brilliuiGy  of  tone.  i(  iroald  perliaps  be  dif- 
ficwlt  to  decide,  aitd  we  maid  rattier  leate  it  ai  a  qnntion  to  be  de- 
termined hy  othera,  vbellier  tli£  linger  or  the  accorapanttt  poi- 
Kwei  ihe  greater  share  of  those  fine  qottUlies  wbicli  diilinguiab  tbis 
unicable  competition,  in  wbich  the  noble  emulation  of  the  one  seems 
IoIm  (to  judgroaficallj  does  Ua.  CaAKRa  hy  tarns  restrain  and 
cserlhiaart)  to  display  nnil  focxalt  thcquulilics  of  bis  accomplished 
COnsolt.— Thus  we  are  ulikn  brought  to  admire  hh  souniJ  taste  and 
hit  command  of  hand,  for  not  to  note  his  discreiio^i  would  ar^uc  flu 
aacommon  want  of  observation,  and  not  to  perccivr  !hc  superior 
iweetness  of  his  tone  auil  iirilliuncy  of  hia  shake  ivoald  he  impossi- 
ble. The  finale  of  his  first  act  of  Cosifan  lulti  concluded  Die  con- 
cert wotlhily,  for  it  is  said  lu  have  been  more  perfectly  given  than 
mt  evei  before  kooam  in  this  country. 

WednetAiy  Mondng,  Oct.  4,  1820. 

GRAND  CORONATION  ANTu'em'  "  The  King  thaU 

rtjoia- 1>.  Ihy  slreiiglh."   HaaileL 

AtU,  Miss  ^YMuMD!.,  "  Yc  Moi  •./Gk.i,"   HmkIbL 

CHOltUS,  "  Let  none  de^air."    <  Horcuks)   Handel. 

Ri:;CIT.  Mr.  Beli-aity,  '■  Ih  mi:,^'in:il  Ike  :.-'!t,-r,,"  ....  )  (HcJeap.luq.) 
SONG,  lk-h;cli.ll,ch;,.:>,,-   r  It^idd. 

CHORUS,     ffc  'I.,-  R,-<l  ,SWV   I  (,„„„„r„,o 

 C  Haudel. 


■'  Held' 


SONG,  Miss  Travis,  "  IVhat  tho'  I  trace'."  (Solomon).  . .  Handel. 
TBIO,  Messrs.  Knvvett,  Vaugiian,  and  Byi.i.ANr,  Bail 

CllOItL'S,  Diidiu^ifulof Danger."  (Judas .Maccabeus).  HandeL 

SONG,  Mrs.  Salmon,  "  Ifoly,  holi/."    (lludf  iiiplion.)  . . .  Hainlel. 

RECIT.  Mr.  Vauohan,  "'3'Mji:r«.'''   Handcl. 

GRAND  MARCH,  AIR,  and  CHORUS,  "  fffon,  to  God." 

(Joshua)  Itandel. 

Tie  SEASONS— Spring  and  Kunmic",  ™(„pn.i.'d  liy    Uajiln. 

SKCOND  OBOE  CONCERTO.   \hm:\t\. 

KECIT.  Miss  SriMiEW,  »  I,- w,,y/ ./.s,"   )  (Jr|,htin.) 

AIK,                              «  Fareaetise  lwi}iiil  Spiins!,"  ..  J  Ilandrl. 


nHIMlNCHAM  HlltlCAI,  FWnTAK. 


CTIORUS 

S 


Dr.  CiatL 


Aia,  Mr.  VAUfiinN. 
DOUBLE  CHORUM 


0  Lib.: 
"He  go 


iUl 


<«  0  let  ct.-n,.i 


HmM. 


IIuiilcl. 


Tliis  H  ft  selection  of  such  exceeding  gr:iiiilci)r  ami  excellence 
combineil,  that  it  ia  not  poitibk'  to  allribule  to  any  part  a  tnnnifcat 
supctiorily  i  Cor  llic  nirs  arc  of  so  mugniiiccnt  ur  ^o  pallielic  or  bo 
graceful  u  cual,  ami  tht  cliorussts  bo  sublime,  that  it  is  probably  only 
uccorJing  to  tiic  tcni|ieriiiiicnt  of  the  iniliviilual  will  preference  bo 
accoriled.  The  cboral  effects  were  almoit  IhcM  af  elensDl&l  graa- 
dear,  when  the  war  of  winds  and  nava  ami  tbe  artUIet^  of  hesren 
Ii  rooU  mnjeslic*  The  overiFbelinlng  volume  of  the  vaicet,  uip- 
portedby  tlia  forceaf  the  immcRBe  orchestra,  by  iheurponli  and  trom- 
bones of  the  King's  band,  was  such  to  fill  aDdeleTalsUiemindviUi 
ave  and  exaltation,  passing  any  of  Iho  effects  ol  the  art  oxperieoced 
since  the  Abbey.  To  lhi«e  ecDsalions,  the  succession  of  placid, 
soothing,  palhclic,  or  devotional  strains,  which  were  swretly  huird 
ill  the  nirs,  particularly  those  by  the  fecnnle  singors,  were  beaulifnl 
and  Irauquillizing  beyond  the  poweTS  of  language  to  convey.  Miss 
Travis  in  Whai  Ihough  I  trnce,  and  Mas. .Salmon  in  Frum  mighljf 
Kings  (amongst  the  most  excellent  of  her  sungs),  and  Miss  Ste- 
FHHNs  in  Yf  sacred  Priests,  were  particularly  felicitous.  The  latter 
vas  never  htard  to  sing  with  suth  fine  expression,  as  the  tea n  of 
till- cougrcgaliun  siidillv  ti-atilied.  A  finpr  proof  of  the  perfection 
to  which  the  art  of  accompaniment  has  attained  cannot  be  offered 
than  this  air  afforded,  in  tbe  fact,  that  all  the  doable  basset  Bad  Tio- 
lon cellos  played. 

A  striking  in^noe  of  (he  attentioi)  of  the  conductors  to  vhal  Ibc; 
considered  (he  most  appropriate  emptoynwot  of  (lie  latenta  of  (be 
ringers  is  In  tbe  song  selected  for  Miss  Coaai,  vho,  thongh  British 
born,  has  received  (he  la((er  pari  of  her  musical  education  abroad, 
and  devoted  li«self  (o  the  Italian  stage. 

Hatdk's  Snuow,  as  yet  little  known'  in  (his  country,  nalnrally 
fanned  a  prominent  inbjcct  of  curiosil/.   If  the  title  of  Me  Creatiai 


IJlltlMISKHAM   MiaiCAL  FESTIVAI..  129 

la  the  rank  of  an  oratorio  liaE  brcn  dispulcil  by  some  of  die  bigkot 
living  autFiori(ic»,  llie  generally  tighter  graces  of  Me  Seatans  trill  nn- 
qiieationably  raise  severer  objccltoiu.  Ttic  poetry  waa  vritteo  for 
ibc  occasion  by  the  Rev.  John  Webb,  late  of  BumiDgbBin ;  awl 
it  hse  sufficicat  merit  to  become  tfae  ccHitinual  atsocinte  of  HiLYDK'i 
.nnuic  Wilh  the  ezceplioB  of  one  csnplet,  it  it  hovever  purely 
descriptive,  and  is  tbiu  scarcely  to  be  called  sacred.  Tbe  efiects  of 
Ihc  music  are  generally  light  imd  gracefiil.  The  acoompoaimeaU— 
airy,  el^ant,  and  sportive— picture  tbe  appeuaaces  of  Nature  in 
hcT  freshest  and  gnyest  attire,  the  orient  sun  in  his  rising  and  mori- 
diim  splunilour,  and  man  at  his  most  pnraitiTO  employ racnts,  or 
under  the  devotional  elevation  of  soul  itispircil  by  (iic  con  tern  pin  I  ion 
of  the  beauties  of  crcntion,  except  ivhcn  the  bursting  of  the  summer 
storm  inlciruplii  only  to  augment  the  various  nnd  serener  beauty  of 
the  general  design.  Haydn  has  unquestionably  carried  the  pic- 
turesque power  of  music  (it  might  be  too  much  to  aay  to  its  extreme 
limits)  to  the  furthest  point  to  ivhieh  it  has  yet  gone,  and  in  this 
pttfurmnncc  especially-  The  rising  of  the  sun,  and  the  storm, 
ncre  among  tbe  most  elTeclive  of  the  chorussn ;  and  Ma. 
Vaugkan's  and  Misi  STEFHEns's  Duel,  that  gentleman's  reci- 
tative, "  Tis  Noon,"  in  which  the  striaged  intlruinenli  were  milled, 
Mrs.  Salmon's  preceding  recitative  and  air,  vera  amongit  tli» 
most  captivating  parts.  ThellghtiKsaoftfaBwholecontnutediKnrar- 
fully  with  the  sublimity  of  HAKOGL'ediomsses,  and  with  tbe  solemn 
Higuitf  and  expresHon  of  bb  airs.  But  the  composition  must  take 
its  place  below  th»  CreaSan,  and  tank  with  the  highest  order  of  can* 
Iotas,  adding  however  a  toarce  of  dcUghtful  diversitj  to  tbe  serious 
selecttons,  now  so  long  in  use  as  to  ban  lost  BOmeting  of  (heir  origit- 
mil  brightness  by  being  too  often  exhibited. 

EVENING  CONCERT. 

^cr  I.  ^ 

SYMPnONY  in  C.  (No  5)    BcethoTGn. 

GI.EH,  ail  Voices,     The  Iwiil  idnil  niai'd,"    Ferrari. 

!!KC1T.  Mr.  nEu.\yiY^'^'"ift!!fil"ll^^at™   ^ 

Ala.  "  IfOienhe  framloaermgMaUa'isicldingisk,"^^"^'^'  ■ 

DUET,  Mills STKONDS&Mi» Fletcher, " MUfeiltmon  adav.' 

(Comedy  of  Errora.) 

BALLAD,  Miss  ToATit,    From  ^ariag  thtw."   Wdibe. 

SCBNAiDJ(i)inaM0,"Oi)o(aAa>)wi>dta,"&GRANDHAaCH  Mwart. 
FANTASIA  HARP,  Mr.  BocmsA,  fee  a  fiiU  Orchestra    Bochsa. 

III.  HO.  IX*  B 


BIRIVIINCIIAM  HQBIUI.  FBaTtTlL. 


SOVG,  Mr.V*UGH»N,  "GemlelMttr   Mayer. 

GLEE,  MiM  Stephens,  Messrs.  Khtvett,  Vaicihin,  and 

aa.i.Lin,  "  ThUcoldfal!/ htart"    GreatoKi:. 

REGIT.  Mn.  Sitiios,  "'0  dttialo  Ok,"   1  p  ^, 

80SG,                  «  Dote  e  jHttoto  amort  (  Violin  Obligito)  i 
FIXALE,  Loathlars    Shield. 

Arr^n};i^il  bjT  Ur.  GlUtOkR. 
JCT  II. 

OVERTURF.,  Idomeneo  1 

SCBNA,  "  NtUum  ('onor  V'Sall  Put*  by  Miss  Tratii  Md>  Mozart. 

MiuSTMOHDi)  and  Cborni  f  Idomeneo)   ^ 

SONG,  Mm  Stefhehs,  "EdiaSom."   Bilbop. 

CONCERTO  VIOLIN,  Mr.  Mow. 

SONG,  Signora  Cohui,  "  O  quanta  eanima."    MafBr. 

GLEE,  Messrs.  \V.  K-vvTrrT,  VAaBBAH,En(a,iiidBBLLlxl, 

"  IVilh  sighs,  stceel  rose"    CdleML 

REGIT.  Mrs,  Salmon,  "  0  Piilria,"  ■  ?R  .■  ■ 

FINAI.l-;,  ^CK.VA.      .Uhi  h.-tln  D^-rpinrll,,."  (Cn-i  fan  lutii)  Hoiarl. 

On  Ihiscvoiiiii-  Mel.  S  i- ac;  v  o  let  r  i  led.  Tliis  violinist  will  be 
the  more  adaiirei!  llic  more  lie-  is  heard.  His  lone,  tliciigli  nol  so 
powerful  as  some  players,  is  lusciously  lich,  Iila  cxcculion  neatly 
polished.  lib  t.iIeoUa^alcailci  nereexcniplificd  tlitoiighoul  thcen- 
tire  evening  anJ  as  an  obligalo  accompanist,  parlicularly  in  a  sung  of 
Oaroia's,  EUDg  by  Mki.  Salhon,  vhicb,  if  our  recollection  senrea 
ut,  ne  first  faeard  at  the  PfaiUiarmontclailseBsoB.  Tfaisaong,  and  the 
■cena  by  Attwood,  uing  bj  Mb.  Bbl&aht,  are  almost  noTuIUec. 
The  fint  is  a  song  of  prodigious  difficaKy,  and  was  beantilully  ■Dp- 
ported  by  Mr.  SpASHOLBtri.  The  second  is  a  coroposilioii  of 
great  merit. 

Mn.  MoBi,  on  this  evening,  played  liis  concerto,  ofwiitchtbe 
last  movement  is  Rossini's  Di  limti  pnipili. 

This  professor's  Inicnls  arc  of  a.  very  high  order,  and  his  love  of 
art  and  studious  industry  have  raised  him  lo  share  the  honors  of  the 
orchestra,  both  at  the  Philharmonic  and  other  concerts,  witli  the 
ablest  veterans.  As  a  conccrlo  player  ne  are  induced  to  think  there 
is  nu  one  in  this  country  who  shall  dtspnte  the  palm  nith  him.  Mis 
ciiiniL,;iiii!  of  style  nnd  of  the  instrument  appears  to  lie  compldc — 
hib  Mill-  is  full  and  brilliant — his  execniion  scarcely  to  be  surpassed, 
and  tvhrit  is  particularly  admirable  is  hismco/  manner  of  espresaion. 
Ifthe  Roman  critics  praised  Spohr  at  the  grealestaioger  upon  the 
Yiolin,  Mr.  Hori  is  nolessadmitablcon  thisacconnlt  Oait£  ibis 
concert  a  cnrioni  dispote  aroH.  Hri.  Salhoit  iras  Rnnonnced  fin 


BIRMINGHAM  MUSICAL  FESTirAL.  131 

0  Palriavilhiii  tbrec  pieces  after  Mb.  M,  liad  played,  mailc  the 
mosl  sinking  passage  of  t1ii»  song,  tlie  llicnie  of  bis  concerto, — 
Mas.  S.  vary  naturally  felt  tlic  JilTiciilty  thus  imposed  upun  her, 
(we  question  boncver  ^licllier  licr  inimitable  Uniah  and  facility 
would  not  have  carried  her  through  with  an  ecUteven  more  honour* 
able  by  the  compDriion,)  and  slie  refused  firr  gome  time  to  sing.  At 
length  Mlk.  Bbllaxy's  goad  offices  prevailed,  and  she  substituted 
Rnolher  air.  The  circnnistance  was  of  course  vhollj  unfbresen, 
■nd  otlginated  in  the  ooiaciding  choice  of  tbo  (ul^jeot  of  the  conccrlo 
andthesoog. 

The  third  moraiog's  performance  was  the  Mesiiah,  a  entire  as  it 
it  uMially  performed.  It  is  sufficient  to  say  that  this  inspired  com* 
posilioa  baa  aerer  been  heard  to  such  adrantage  since  tiie  Abbey 
performances. 

It  appertains  to  onr  particular  objects  most  cspociallj  to  defati 
the  musical  facts  of  this  grand  festival.  But  as  mie  of  liic  tf^asons 
which  induce  us  to  so  mtnule  a  relation  is  the  hupe  of  exciting  simi- 
lar cffiirts  wherever  thtre  may  lie  similar  noble  design s  to  accom- 
plish, through  llic  great  evatii  pie  of  the  public  spirit  demonstraled  by 
the  iiihabituuts  of  Birmingham  and  its  neighbourhood,  we  cannot 
omit  to  enumerate,  amongst  the  means  of  gratification,  the  Dress 
Bai.i.,  which  took  place  on  the  'lliursday  evening.  The  spacious 
area  of -the  theatre  was  formed  into  one  splendid  saloon.  The  walla 
of  the  stage  were  lined  with  scenery,  and  that  part  of  (he  building' 
lighted  by  four  tripods.  The  difficult  (ask  of  metamoiphosing  the 
place  from  the  concert  room  was  rapidly  acoomplbhed  by  Ma. 
CuEEiiniE,  assisted  by  the  voluntary  and  most  acceptable  services 
of  Mn.  UuHN.  Nothing  could  cxc^jed  the  universal  magnificence 
of  the  (spectacle  of  so  much  beauty,  rank,  and  fashion,  as  was  her* 
assembled—"  in  all  their  bravery." 

FRIDAY  MORNING. 

OVERTURE  and  CIACONNE.  )  ,m..^.„\ 

CHORUS,  «  Keqaiem  elemum"   !■ 

CUOmi"  Kyiie  Ellison,"  ■  J 

DEAD  MARCH,    DKBoyte. 

Arrund  bj  Mr.  GiMnasx. 

HOZARTS  REQUIEH,be^DiDf  Btti)c«i}>MDW,"SerTice. 
AIR,  Mrs.  Saluoh,  «  GraSm  a^mai  tSn,!  (Qarioaet  OUi-  ' 

aiOf  Mr.  WuLNUi),   Gogllelait. 

GRAND  DOUBLE  CHORUS,  "  Gloria paMa,"   Jm>. 

tt 


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13S 


BlKHINeHAM  HVSKAt.  nsmTAI. 


o'.'iCHTi  ;;!".  (T-dii-r)   iimdd. 

Alii,  M.,h:„;  Vi:,rais,  "  ll.tm;,.0  (i,,:/ 1 ,  Ih'K-    ....  Ikiidri. 

HKiTElTt)  and  CHOHUS,  "  m  it  tkt  iky,-    C™fi. 

AIB.  Miss  fiTr,mr-l-^"""jP%l''Ors;«^  Hiui.!,;!. 
DUET  and  CHOCLliS,  "  O  nmr  boa  kc  i/uion,"  Jlrs.  S»t. 

HON  and  Mies  'I'bavh.  (Judas  WaccalM^ui)   Itaiidi'l. 

80NG,  Mr.  VAfcii  vs,  "  l^rd,  rcwemhcr  Daail,"   Handel. 

MUBLK  CHORUS,  "  tmmorlat  Lord."  (Deborah).  . ,  Handel. 
AIR,  Mrs.  Salmon.  "  Praise  the  Lord,"  Organ  OMignto. 

(Esther)   Handel. 

RFlCrr.  Ml-.  Rv,i  >>,v,  '■  IVlu-i,  Kii,^  DiTid,"  )  (litdfmpiiui.,) 

t;ilA\l)  nioiu;.-.  "  (.Wi  .im^ //ic  A7h-,"  f  Handel. 


Til  is  ijriiicl  M'li'fliciii  clo-eil  llie  s:ii;ri'(l  jiortiiin  oi  the  peffurmancc*. 
Tlint  iiortiun  iif  Mi7/.iit"3  Itfi/iiiciit  whicli  wan  given,  nfTordcd 
tiJi  nlniDSl  lu'iv  ar^ii  iiui-l  trlnrimis  Sjii.'Cimeii  of  sciciic*  ami  of  art, 
Tlii;ci!L'ct(iriliL  «erii^:itiri  ibi;brisssD!o  "  Tubavihumtpitrgens nomnt" 
ytaa  superiativcly  auful,  atid  in  the  Benediclui  tbe  vocalists  and  Ifae 
orchestra  (eemcd  t(t  ri?aleach  olber.  Nothing  more  esqnisile  in 
ill  kind  «ai  evei  beard.  Ibere  was  ft  consent  between  the  parts, 
whidi  onEjr  tbe  most  ussidaotK  attentkm  and  most  consnmnate  ac 
quaintasce  vilb  each  olhcn  powers  conld  baTe  anived  al. 

HAxnit's  CfeaHoM  (first  act>foltoweil ;  and  aa  tbe  liigheil  perfsc- 
liont  of  this  moit  elegant  work  depend  apon  fine  instrnmental 
tecconpaniment,  it  was  beanl  to  great  advantage.  El  ere,  if  in  anj' 
thing)  was  mt  tbe  want  of  Mb.  Drauah's  fire,  brilliancy',  and 
spfendoorj  in  Ibc  recitativB  describing  the  creation  of  tlie  plnnelniy 
sjrotem.  It  has  alwajs  seemed  to  us,  that  in  order  to  adain  llic  most 
complete  elocution  of  this  cxlraordinnrilj  contrasted  piece  of  musical 
description,  Urn,  Braiiam  should  sing  that  part  which  relates  to 
the  sun,  where  the  fin:  ofiiis  deeluTniitiim,  the  volnme  of  his  tone,  and 
the  light-like  vehicit}-  of  lu>  (.'^miiion,  produce  a  scnsalion  n|>on 
the  ear  analogous  to  lliat  frli>riiiiii  bur.it  tempered  fljme  with  which 
(lie  sun,  dncrifing  river  llic  brood  expanse  of  the  calm  and  glassy 
o<  !';ui.  L'l^iiiili'Tis  tlic  s;<;h;— ivliile  llic  pure  and  polished  sweetness  of 
ilu.  V  .\  rt.ii .'.  N  '.^  tojic  i;iul  iiiaiincr,  soothing  the  mind  to  the  de- 
Jii^litful  traiiquilUly  [utvhich  it  is  softened  by  the  placid  serenity  of 
.the  moon's  "milder  light"  in  the  "most  calmest  and  most  stillest 
nigfal."  In  the  Creation  also,  toraewhat  mote  Ibu)  in  the  otbcr  per- 
fiwmoncei,  the  abtence  ef  Ma.  Babtlehav  was  mourned. 


HlltttlNGtlAM  Mt'l^lCAL  FESTIVAL.  133 

The  third  pari  wns  reranrknblc  f^ir  t!ic  prod  oil  sly  fine  effect 
obewml  ill  tlic  niiaaie  inoTemrrit  of  the  Oterlure  to  Eslher,  by  Ihe 
immense  body  of  lone  from  so  runny  bassca.  Madame  Vestbis 
sung  Return,  O  God  of  Ho^ls.  Hit  voice  is  singulatly  fine  and  her 
style  expresBiTc,  but  her  studies  tiot  having  been  addrened  to  ucred 
music,  ornhich  the  manner  (Handbl's  |)ar(icul>riji>ia entirely  Iradi- 
tioiiRl,  there  appMTed  a  deficiency  ta  Cftrs  acctttitained  to  the  genuifw 
mode.  The  petrarmance  to-day  coiicludt-d  with  the  grand  chonu 
from  Sa^H^UoH  of  God  save  the  King,  whicli  was  encored. 

FRIDAY  EVENING. 


SYMI'IIONV  {,\o.  2)    IteotLoien. 

(iLEIC,  jii  Voices, "  Heme,  atli/e  vam,"    Wubbc. 

SCENAed  AKl^SisaorBiaRKX  „   Cabafta. 

REGIT.  "AxoftMommfb." 
ARIA,     Fftt  ta»t»mgatde." 
DUKT,  Mrs.  Salmon  and  Misi  Stmondi,  "  Caranoa  dabOar." 
SONG,    Mm  PTEruExs,  «  J  compH-,"  (Violino  Obligate, 

Mr.  MORI)    Guglirfml. 

0TTF,TTO,rDrtwa  Oboes,  two  Clarinets,  (wo  Ilorii5,!U]d  tuo 
Bassoons,  Messrs.  Guiksdaui,  Kdskine,  Willman, 
Mahou,  Pbthidh,  J.  PEiaiDEi,  Holmes,  and  TuLtT  Mozart. 
lEbto  '^OLadyfi*-,"   StnauoB. 

ittnigcd  ij  Hr.  QnUToan. 

BALLAD,  Hbi.  Suhok,  "  1%  a  Poor."    IdxiA. 

SCENE  from  «  " 


RI'RT.SlcnDmCoRBiandSrfnorAHBnoGEm.  '* tiactArer)i,"i 

ATIl,sUorA«B«OGErTi,  "  Fmc^i  

Tt;azi-:iTO,  Mrs.  SALHo»,Sigi<ora  CoRBi,  ft  agtwr  BuREi,) 

Prolegga   ,  V  Moxwt. 

FINALE, ren^fejiur  oKonii,"   J 

The  Vocal  Paki  by  Mrs,  Salmon,  Signort  Corn,  Madame  Vertris,  Sig- 
oari  AnbngetG  and  B«grei,  nd  BiMtH.  Bdtamy  and  B«ale. 

MT  It. 

GRAND  OVERTURE  (Anacrcon)    CheniHni. 

SONG,  Mr.  VAuonAN (Alexis)  ViolDncello  OTitigato   Dr.IVipusb. 

(ILEE,  MisB  Stephens,  Messrs.  Knyvett,  VtncnAH,  &  Bei. 

i*MY,  "  Lcl  ,ml  nigr,"  baniionised  by  Mr,  GreAtorex. 

SONG,  Mrs.  Salmon,  "  FMin  Iti  :,r„ii."    RoNbi. 

SEPTEITO,  .Mi.,.^.-.  S,M.,NO,.>  tri.WiLi.MA!<,  Holmes,  Pe- 

TitiDiij,  A.irrrv,  Anto-i.  .iml  I.indlet. 

SONG,  Madamri  Vi-snu^,         Inthmg."    Dr.Aroo. 

MADRIGAL,  Miss  Travis,  Mi:s'irs.  Ksttett,  Vauohab, 

aad  Bellamy,  "  There  is  a  Lady."    Ford. 

EECIT.  "fiiuto   1  _. 

|ONG,Sip,oraCottnT,"Qr,«/o™/."  \  ZwgarollL 

SCENA,  Signpr  AnBBOarrri,  "  Preite,  preilo,  Signori." 


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134 


SIBMIKCHJUI  musical  VBB7ITAt.. 


This  concert  wu  led      Ub.  Moki,  vbo  evioced  the  firmnnt, 
command,  and  acquaintance  with  the  componttonB  he  bad  to  dincl» 
which  constitute  the  skitful  leader- 
The  second  act  commenced  with  Chebubihi's  far-fained  Ovtrture 

to  Anncreon  which  was  plnyed  willi  such  precision  as  Iravc*  it  a 
matter  of  doubt  ulicthcr  tlic  composer  himsi'If,  when  he  directed  its 
perrormancc  al  the  PhilliarmoNic  Concert  oFLonilon,  heard  it  to  such 
adVnntiigc.  TItc  allcntion  was  liretted  from  the  ^rst  chord;  the 
niiiliciicc  seemed  "  all  ear,"  a  soICBin  ailonce  prevailed  till  the  end, 
when  it  nas  broken  by  the  expression  of  the  general  desire  for  its 

Among  tlic  vocal  ulikli  ;L:uml(;J  iLr    filu-.l  iiK'n-urc  stiimls 

Miss  Stepiieks'  "J  r„i, ;;)/>,"  AshiLli  \i,iMi.irlvsiLii|!Oil.d  !>>■  Moni, 
who  was  perhaps  somelliinf;  moti.' florid  iiiiLij;iii;i[ivclIian  becomes 
an  accompauist;  and  Mr.  V avguah's.  "  Aicj:is,"  to  which  Ma. 
Lindlcy's  playing  bears  the  same  relation.  Mr.  L.  does  indeed 
mnke  this  song  a  short  concerto,  but  notwilh standing,  we  believe 
it  gives  as  much  gratificalioaaiany*oloheeverplajed,aadBllhaiigh 
lie  heaps  orEinmcnl  npon  ornament  with  a  prodigality  that  would  ex- 
haust any  common  genius,  he  does  not  draw  off  the  attention  from  the 
extreme  polish  of  Ma.  VAno-RAM'a  unging.  Never  perhaps  vai 
there  such  an  instance  of  (implicitj,  purity,  and  beauty  of  style  in 
the  one  contrasted  with  toch  fertility  and  luxuriance  in  the  other, 
"  each  giving  each  a  double  charm." 

Abne'b  old  air,  "In  Infancy"  by  Mad.  Vestuis,  was  encored; 
and  SiGNOR  AMBROOETTiginhisdirecIionslothcorchcstra,  "Presto 
Picslo  Sigiiori,"  snccessfiilly  asserted  liie  power  of  grimace,  flc  ficw 
iihrmt  llic  space  ailollcd  for  his  activity,  knocltcd  out  Ihi;  liglils,  nnil 
ict  (he  ivhole  orchcsUa  laughing,  together  with  his  audience. 

Tlie  feslival  concliiilcd  nilli  "  God  sate  the  King"  wliicli  was  call- 
ed for,  nnd  accorded  with  true  good  will,  as  the  singing  di-clarcd. 

There  is  one  person  whose  important  sen-ices  on  this  occasion  we 
haveleU  till  the  last,  namely,  Ma.  Gbcatobex,  ivhosc  akill  and 
experience  as  a  condoctor,  together  with  bis  powerful  presidency 
and  support  at  the  organ,  can  never^  too  highly  estimated.  This 
gentleman  and  Ma.  Cbaheb  hare  been  so  long  associated  in  the  coo- 
cert  of  antient  music,  that  nothing  can  so  particularly  conduce  to 
the  excellence  of  sacred  music  as  their  union.  This  the  direclon 
felt,  and  while  two  of'  the  evening  performances  were  dd^ated  la 


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BIRHRCGBAH  HUSIGIL  rESTlVlL. 


135 


Hessaa.  Spagnuoletti  nnd  Mori,  the  momitigs  were  commilled 
CDtirelyloMB.  Craheh. 

Litlle  more  remains  for  us  to  record  lhan  tlic  rrsiilt — in  wliicli  tbe 
succees appears  lo  be  ns  justly  apportioned  lollie  effect  as  llie  effect  is  to 
(be  cause  in  any  otiierplionuiiiciion  of  nature  or  of  art,  Tlie  ri'ccipU 
■ccordiiig  lo  llie  documents  piiljlislii-il  in  the  [{irmiiiglmni  neivspapcr, 
irere  as  follovrB,  but  ne  uriderslnnd  Iliey  on  llie  whoU'  ncnrl^  cnmeup 
to  (he  enormous  amount  of  Ninb  Thousand,  Fitb  Hundred 


POVNDS. 

The  disbursctneDla  were 

four  tbousand  seven  hnndred. 

Clnrcb  Adn 

 1401  II  9} 

Ctareb  AAnliriDO>18(l3  0  0 
CoUccllan  .  «fl  II  ^ 

Ckorch  Adm 

  ^  ]5  li 

 i            !839  4 

AdditimulDoBf  I 

—        M03   ♦  H 

R«cindrDrBaakt,I  ^ 
nppowd.  J" 

Cborch  Adn 
Dreu  am 

talsni  looe  id  0 

 :  91)8  5  0 

Tout  £90*0  i 

Tliis  amount  was  increased  by  large  donations  lo  which  even  many 
of  lliB  principal  performers  generously  contributed.  One  anecdote 
lins  reached  us  of  nn  olderly  geullomaii,  wbo  sent  a  message  to  the 
iliri'cfois,  (liat  if  ihey  would  sfciirc  liim  a  good  pliicc,  wliicli  Ibc  ge- 
nc!r;d  atriiiigeuu  iit  fin- h;i  iiii|Kuli:il  nlluli.init  ol  si'at- did  not  assure 
loliiu),  he  woiikl  piCL'iit  thf'iii  ivilli  WiOI.  (rqu.  M  was  complied 

«ilii,  and  ufuttiier  olfer  made  lo  llic  lib<Tal  ln^nofaclor  that  if  he 
came  a  second  lime,  on  the  aamc  terms,  he  should  scaled  between 
two  of  tlic  linndsomest  Counlesscs  in  the  Pceinge.  But  tbc  Gentle- 
man  did  not  dare  to  meet  the  promised  blaze  of  brauty. 

To  those  who  would  stimulate  a  similar  spirit  into  ezercite  we  point 
out  the  odvurti^emenl  of  (hanks  issued  by  the  Ciommitlee.  In  tbii 
it  appears  how  generally  the  eicilemeiit  to  Km  the  caiue  vaa  dif- 
foaed,  and  haw  caTefDlly  it  is  nourished  by  a  pnblic  expremon  of 
the  gratilnde  or  the  oi^ds  of  tbe  charitj,  to  ercrj'  indiTidiuI  wfas 
ID  Aaj  way  contribnfed  to  the  festinl. 

Nor  can  we  confine  the  good  effect  of  such  a  display  of  art  to  this 
Abject  alone,  although  it  is  unquestionably  the  main  spring  and  raaa- 
ler  movement-  The  directors  addressing  their  attention  to  the  pro- 
ptn  of  science,  have  in  their  selections  retaiucil  the  grand  and  capi- 


136 


Ki!nn\r.ii.iii  Mrsd.u.  FF-«'r[VAL. 


lal  features  of  tbc  nnlbiit  lore  of  niiisip,  ivliilc,  willi  ajuflgnicnl 
lliat  cnnnot  be  loo  liigldy  extolled,  they  liiive  availed  themselves  of 
tbc  riclics  of  moilcrn  art.  Tbcy  have  thus  advanced  tbc  general 
taste,  by  att/actiug  aniatcute  fiom  the  king;doin  at  large,  and  ihcy  liare 
benefitted  the  plocci  not  only  bj  the  pecuniary  oirculsUon  Ibns 
allured  to  but  by  (be  more  pennaoent  incitejnentB  to  the  oultiTa- 
lion  of  Ibis  solace  of  leisure  and  softener  of  maoDen,  nliicb  in  itt 
prirate  eigoyment  is  amongt  the  most  heartfelt,  niost  innocent,  masi 
refilled,  and  most  elegant  of  accomplislinicnls,  and  that  of  nil  others 
most  adapted  to  mixed  socicly  and  extensive  participallon.  We 
invilc  Htlenlion  to  tbc  principle,  to  the  pracllcnl  cKompIc,  niid  tu  tbe 
consi:qitenue.  Tbe  first  is  ibc  lielection  of  an  adequule  pitrpose,  tb^ 
Eccoiid  is  llic  application  of  arl,  in  combinatiun  witb  such  purpose, 
as  an  iticilement  to  public  spirit,  and  tlie  hist  Is  ihat  drsimblu  <-iiid 
hcaUbftil  difi'usion  of  money  and  of  kiiDwk'dgr,  (bat  furins  iIjl'  best 
employment  of  tbc  one,  and  leads  to  Ibc  most  virtuons  and  tbe 
most  felicitous  enjoyment  of  the  acquisitions  of  Ihe  other — all  these 
things  narking  for  general  good  and  general  happinen. 


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137 


TO  THE  EDITOR. 

ELBUGNTS  OF  VOCAL  SCIENCE. 
Cbafter  4l, — Section  2.  ^ 

ON  THE  ELOCUTION  OF  SINGING. 

M  y  last  etmy  closed  vilh  a  notification  of  a  future  design  to  cx- 
emptify  by  instsncct,  »me  of  those  licences  the  elocution  of  singing 
aflbrdi  for  the  diiplay  of  the  nicer  intellectual  diatinctiona  that  exalt 
the  general  expresNon  when  reduced  to  practice ;  and  oa  RecilatiTc 
afibrds  the  afrongeiit  cxaniplet,  I  shall  commence  my  present  aection 
nilh  (he  application  of  my  notions  to  this  particular  species  of 
execution. 

llpciliilivL'.in  its  i^cnirnl  acceptation,  signifies  a  kind  of  coropoailion 
in  mliitli  iliT,l,imati[>ii  is  regulntcd  as  to  melody,  but  rclcaMid  from 
tlic  fetters  of  lime.  Vet  tlioiigli  it  possesses  melody  in  its  tones,  it  is 
divested  of  nU  the  rhythm  of  melody,  nnd  ils  accLwils  or  em[)bnscs  are 
directed  as  in  ordinary  speech,  by  the  qimnlilies  of  llie  syll^iblcs  and 
bytfac  customary  distinction  of  the  emphatic  words.*  The  citsurasare 
observed,  without  respect  to  the  measure  of  the  music,  though  such 
mcestirebe  kept  to  tfaeeyeaecordbg  tothc  written  form.  But  there 
is  a  second  species  of  Recitative,  the  accompanied,  which  is  de- 
voted especially  to  the  expresdon  of  passion  and  those  short  and 
vivid  exclamations  that  depicture  the  strongest  workings  of  (he 
mind,  where  however  diversity  and  andden  changes  of  aenlimentare 
pourtnyed,  which  are  incompatible  with  any  continous  or  ngular 
strain  of  mehidy.   Upon  such  passages  "the  composer  bestowahii 

*  The  German  crllics  taVe  a  distinction  between  meHsmatic  and  syllabic 
-oiij;.  T!tL>  former  lerm  Ihcy  use  to  dietingniah  tliat  kind  of  melody  in  whicb 
sniral  iiutL'b  are  to  be  sungtoonc  syllable;  the  latter,  that  in  wludi  erery 
Ajlbblc  hii  its  <1i;li[ict  note.  Thcj  Consider  that  recilatiTe  should  be  of  the 
unmiird  syllabic  kind. 

VOL.  Ill,  WO.  X.  T 


138 


ELEUENTl  OF  TOL'AL  SCIENCE. 


blrongcbt  liglil,"  as  has  beta  observed  by  the  pliilosopUtcnl  Mr. 
Broivii  in  bis  letlers  on  the  stractuie  of  the  Italian  Opera,*  and  here 
it  CO nBequenli;  happens,  that  the  ringer  ueaabledmostfrequeotljr  to 
display  bis  power  uf  adding  to  the  conceptioaB  of  the  compMcr  by 
dignity  ntiil,  force  of  manner.  Beritalive  ii  indeed  the  peculiar 
proTincc  f<Hr  the  exercue  of  the  noblest  apectei  of  drolamation^  for 
it  exceeds,  in  degree,  tlie  middle  tone  of  dramatic  representation, 
iThile  in  the  depths  of  passion,  expression  is  heightened  by  the  cinnn 
of  musical  adaptation,  of  protracted  and  varied  melody,  and  indeed 
by  all  the  aids  ivliich  harmony  can  alTord.  In  Rccitalirc  the  tioger 
has  the  fairest  range  allowed  bini.  Hcis  here  iiopowered  to  improve 
more  freely  upon  the  original  conceptions  by  the  play  of  bii  own 
imagination,  and  by  giving  full  scope  to  whatever  fancy  may  dictate, 
and  facility  enable  him  prnctieally  to  enforce. 

The  principru!  means  by  %vliich  the  singer  can  improve  the  decla- 
mation of  Uccilalivc  is,  by  the  Jiidicions  use  of  pause  and  emphasis, 
which  last  is  not  only  to  be  given  by  throwing  additional  vehemence 
upon  anyparticulatwordorpassageibutoftenlimes  by  protracting  the 
dnration  ofthevord  andbygradiuDy  swelling  and  diminishing  the 
note  appended  to  it.  I  sbatl  etHleavonr  to  illustrate  my  theory  by 
'examples,  ascending  from  the  least  complicated.  Hamdbl  and 
Hatdh  affiinl  instances  which  are  within  the  knowledge  oTalmoit 
every  one  who  aspires  lo  science.  From  their  works,  then,  I  shall 
select.    The  Creation  is  particularly  fertile. 

Tlie  first  example  f  shall  choose  is  the  short  recitative  introdacing 
the  beautiful  air  "  Jfilh  verdure  clad,"  this  being  of  the  simplest 
kind.  But  though  it  is  purely  narrative,  it  contains  matter  susceptible 
of  ilhistralirin  from  the  eloculory  powers  of  the  singer.  The  words 
arc,  "  nnd  God  said,  let  the  earth  bring  forth  grass,  theherb  yielding 
BCfd,  and  Ibc  frntt  Uecyielding  fruit  after  his  kind,  whoseseed  is  in 
ilst/f  upon  the  earth — and  it  was  so." 

The  lirst  division— nnrf  God  rail/— requires  lo  be  delivered  with  a 
dcclnratorysolemnityofmanner,  neither  sustained  too  heavily  nor  with 
loo  great  force,  thatshonld  prepare  the  mind  for  Uie  command  which 
rollows— the  next  closing  with  the  period  at  the  word  cortA,  requirtt 
Hajestj  iodened  by  its  import  The  empbadc  words  are  those  dit- 

•  Seepage  30,  tdL  l,af  tbeQurterir  HndeslReTinr,  wbenwt&befeuBa 
■  complete  analyM  of  tUs  [wt  rfmir  toljtet. 


Digltizefl  by  Coogle 


ELEUENTI  OF  TOCAl  ICIENCE. 


139 


linguialicd  by  italics.  A  long  appoggiatura  sliould  be  introduced  upon 
ibo  vorA  aeedf  nlien  first  used — connecting  oppoggiaturos  sbould 
aUo  be  added  betwecnthe  words  jiclding  fruit,  beginning  by  a  tntn 
on  Ibe  »3\\tAi\t  yield.  Bat  the  most  striking  passage  rcmains—anrf 
U  teat  to.  Tbe  trord  omf  sbould  be  pniliacted,  and  tbe  note  swelled 
and  diminished  to  coniey  elevation  of  mind,  and  to  excite  the 
admiration  of  the  suddenness  of  the  fulGImopt  of  tbe  nonlofUod. 
It  anu  to  Bhoold  be  distincOy >  forcibly,  and  somewhat  rapidly  spolnn, 
enforcing  tbe  word  wwitb  more  Iban  utnal  enet^y. 

Snch  I  Goncdre  to  be  an  elnddation  of  tbe  process  in  wtiich  (he 
clocutorj  parts  of  singing  arc  to  be  studied  and  ananged,  and,  if 
fuirly  csccuted,  I  will  venture  t?  unawer  for  ils  success.  If  then  so 
siin|ilea  sciitcnccaii  timt  we  Iiavc  CKumincd  appears  to  be,  shall  be 
touiid  lo  present  so  many  pnils  for  this  exercise  of  (he  imagination 
and  tlic  powers,  how  much  moie  must  belong  lo  tiiasc  poetical 
reprcseiilafions  which  image  the  workings  of  paakiun ! 

But  wc  will  proaecute  uur  enquiry  iiumcwhat  further,  and  the  next 
Itccitutive  I  shall  select  is  fioni  Ikdfmpiion-  It  introduces  the  ^ne 
song  lie  layetk  the  Beams,  (orjgiu:)lly  acl  by  I!  andgi.  to  the  Italian 
words  Naice  al  Bosco,)  but  is  1  believe  t|ic  composition  of  Da. 
Aknold.* 

"  He  measured  tbe  waters  in  tbe  bollow  of  his  hanfl  wA  meted  ont 
the  lieavcna  with  a  span ;  and  comprehended  the  dost  of  the  eqrth  in 
a  mcasnre,  and  neighed  tbe  mountains  in  scales  and  the  hilb  in  n 
balance." 

The  lint  word  in  this  sentence  HE  is  of  singular  importance. — It 

designates  the  Most  High,  and  it  is  tbe  first  of  a  sentence  which  de- 
clares the  nunilerslhat  "  He  doth  in  the  ileq)."  //c  therefore  should 
be  sung  with  a  solemnity,  a  fullnesii,  anil  iluralioii  of  (one  that  will 
prejiare  Llie  niiiiil  for  wliut  is  to  follow.  Tlic  words  measured^  lealcrSf 
hollow,  hiiiid,  failing  upon  the  accented  purls  of  tilt:  bar  are  miisicaily 
as  Mcll  lis  by  meaning  emphatic,  but  as  these  express  no  passion  there 
must  be  preserved  a  level  dignity  of  manner,  elevated  by  the 
majesty  of  the  subject.  Our  nest  observiilioii  iiinrk.i  peculiarity 
in  vocal  declamation  that  is  of  great  general  aj>plicaliun,  and  it  proves 
that  words  nre  moie  consequential  in  singing  by  (heir  position  than 

*  These  words  are  set  in  (w«  ways — flut  to  which  I  allnde  hepns  ia  the 
key  of  ¥,  and  during  the  sympliaDy  inodnktes  to  C,  is  which  the  vocal  part 
begins. 


140 


ELEMENTS  OF  TOCAl  SCIENCE. 


Iroiii  tlicir  actual  signification.  The  conjunction  and  occun  foiir 
times  ilaringlfatB  iliortsenlencc,  nnd  a  great  part  of  the  excellence  of 
the  perfonnancc,  depend!  upon  giving  this  word  of  little  significance 
adoccilect.  The  fiist  ondfaas  appended  to  it  a  high  noteand  vbicfa 
ought  to  be  amongst  the  finest  in  a  bassvoic^;  tbis,  tbercfoTC,  sbonld 
be  swelled  and  protracted  with  consonant  majestf ,  to  ruse  the  ex- 
peclation  and  prepare  for  the  image  that  is  to  follow.  The  second 
time  we  meet  with  and,  it  sliould  be  pronounced  in  nearly  the  same 
time  it  would  occupy  in  speaking,  bccansc  the  melody  is  colloquial 
though  grave,  and  because  it  falls  upon  the  middle  part  of  the  voice; 
on  its  occurring  the  third  (imc  it  is  again  invested  with  more  meaning, 
for  the  same  causes  as  at  first,  but  it  has  lost  some  uf  ils  original 
brightness  hy  repetition;  tlie  word  should  lIuTefore  be  dwelt  upon 
longer  than  the  second  but  not  so  long  as  on  the  first  occasion ;  the 
fourth  is  intermediate  between  the  second  and  third  as  to  importance 
and  duration.  These  distinctions  arc  necessary  both  for  variety  and 
expression — they  arc  necessary  to  mark  the  divisions  of  (be  verbal 
Qiid  the  musical  sentences,  and  they  show  upon  what  minute  wi- 
cumstances  polbhcd  elocution  depends. 

Enough  has  been  said  to  point  out  to  the  student  the  method  by 
which  emphasis  and  accent,  power  and  durotion,  pre  to  be  employed 
withaview  to  heighten  declamatory  effects.  I  shall  giv^  one  instance 
of  the  change  of  a  passage,  but  I  beg  to  be  understood  to  confine  this 
license  within  very  narrow  limitations,  and  to  warn  the  student  that 
it  is  always  haxardoos.  For  a  singer  oBgbt  to  telce  it  as  a  rale  that 
what  is  obvious  to  himself  most  have  been  obvions  to  llic  composer; 
nnd  consequently  that  the  passage  he  proposes  to  substitute  may  niost 
probably  have  occurred  to  ilie  author  and  have  been  rejected.  The 
consideration  therefore  that  the  composer  has  weighed  nnd  balanced 
all  the  parts  of  his  work  and  chosen  for  the  best,  will  guard  the  singer 
against  the  hasty  suggestions  of  his  own  mind,  and  he  "ill  adopt  any 
invention  of  his  own,  only  for  very  special^  reasons.  Such  reasons 
there  seem  to  mc  to  be  for  preferring  (he  passage  I  shall  venture 
to  offer  in  the  place  of  Havd\'s  original  disposition.  It  occurs  in 
the  Recitative,  bcginningiind  God  made  the  Jirmamcnl,  mtheCreation, 
npon  Uic  words.  And  awful  rolled  Ike  ihuttders  on  high.  I  propose 
that  it  ebonld  be  sung  as  follows : — The  word  and  ebonid  be  piO' 
tiACted  and  solemn ;  the  next  notes  (aafuli  should  be  transposed  to 
the  octave  Mow,  and  sung  in  cqutd  limes,  but.  coniidenbly  length- 


ELEMENTS  OF  VOCAL  SCIENCE. 


141 


cneJ.  Tlie  next  fijHable  (roll)  should  be  taken  iu  i(s  place,  but  a 
ibakc,  long,  Gwcllcd  and  force rnl,  sbould  be  introrluced  upon  it. 
Tlic  rcBflons  which  induce  me  lo  suggest  this  alternlion  are  these. — 
the  extension  of  the  dnration  of  the  note  upon  the  word  arid  nuaea 
cxpeclaljon  into  that  solemn  and  undefined  feeling  of  what  is  to  suo 
cccd  that  the  composer  has  desired  to  inspire.  The  sinking  the  notes 
an  octaTe  on  the  word  awful,  and  to  one  of  the  finest,  full^,  yet 
heaTiest  in  the  vhote  bau  compass,  bears  analogj  to  the  gtkm  and 
distant  lonDd  of  tlie  Btorm,  which  bunti  vith  iti  filtl  majnt j  and  ia 
tj>[uBed  by  the  potreifol  ihahe  npon  odd  of  the  matt  brilliant  uota  of 
the  Toice^  and  immediate  con  trotted  nitb  the  lower  octaTe— the 
ptepcrties  of  which  ue  Kdemnify  and  we^hf .  Thn*  it  u  that  this 
method  of  altering  tlie  passage  will  augment  its  sablimity  by  employ- 
ing its  original  powers  of  inspiring  awe,  terror,  and  imposing  a 
ilcpl>or  sense  of  grandeur. 

These  arc  onl;  applications  of  the  principles  which  Mr.  Burke 
lajs  down  in  his  Essay  on  the  Sublime  and  Beautiful.  He  notices 
tbe  effects  of  excessive  loudnces  in  natural  phtenorae  no,  of  sudden- 
ness, of  sounds  repeated  at  regular  intervals,  and  of  low  and  tremu- 
lous sonnds.  Vocal  music  is  eonstructcd  on  the  same  bases,  though 
vastly  modified  as  to  quantity  and  qaalily.  Having  sought  to  illus- 
trate the  effects  of  heavy  monotonons  tones  and  sudden  bursts,  I  shall 
cilcan  example  of  the  sublime  effect  of  low  and  tremulous  voicing. 
It  occurred  in  the  RccilatiTe— "  And  lo  tbe  Angel  of  the  Lord  came 
upon  them,  and  the  Glory  of  (he- Lord  shone  rotmd  abontthem. — 
And  they  Tsere.  sore  afimd."*  This  Recitative  Hadaiib  Catalahi 
performed,  with  a  nobleneia  of  conception  and  miyetly  of  expres- 
sion not  exceeded  even  by  MiBAheisdf;  fiir  havii^  pooted  forth ' 
tbefultraagnificenceofhei  prodigious  volnme  of  Toice,  supported 
by  the  arpeggio  accompaniment  of  the  orchestra  npon  the  words, 
"  The  Glory  of  the  Lord  ahone  round  ^oat  Ihati,"  she  suddenly  atte- 
nuated her  astonishingly  ductile  tone  to  the  least  possibly  audible 
sound,  and  sung  slowly,  in  a  voice  so  slightly  as  to  be  scarcely 
licmulous,  "  Jnd  they  were  sore  nf raid."  The  cfl'ect  congealed  (he 
very  blood,  till  the  mind  recovering,  became  conscious  of  the  sim- 
plicity, the  delicacy,  and  the  exquisite  beauty  of  the  thought  and  the 
»ecution>  nhioh  roibed  in  exlacy  over  the  general  feelings. 


TkeHesdib. 


ELEHEKn  OF  TOCiL  SCIBKCB. 


I  may  Lutanoeuiotlier  aUenluw,  iorented  by  M«.  Bbaham,  is 
Ui«  RecUatiTe  of  HATSit'i  Q-aOion,  dtMriptire  of  (lie  tiling  of  Hiq 
mn,  when  upon  the  word  "  darlt"  ha  iotrodncM  »  ToUta,  numilis 
lapidljr  down  and  ap  a  contiderabla  numEia'  of  notea,  wttb  vw( 
effect.  Here  tbe  analogy  lin  between  die  dlffaiioiioftliewlftr  raja 
and  the  apleaciid  execution  of  Ifae  ringer  pairing  Araug b  si)di  a 
space  of  natalion  with  a  Tclociljr  that  tmaga  thn  pamgo  of  light 
itself.  Havdw  has  hinucif  given  liberty  and  Dzainple  for  the  lue  of 
sudi  ornnnienlB  by  the  beaatifully  gliding  dlniion  upon  the  Word 
"  siirnl,"  in  tbe  aaioe  Recitative,  and  which  >■  nnallj'  inoreaied  by 
gome  aildiiioiiiil  noln. 

Tlicsc  inslancM  mny  serve  (o  illuBtrole  the  general  instrudioni  I 
woiilil  wish  tr>  inculcatp,  atiil  (each  the  jourig  student  lion  to  think, 
Tlie  n'ork>>  of  Puiickt.t,  nnil  H  ANDEi[.nl>oiind  in  the  finest  cxHmplee, 
cmbrnciiig  all  iIil-  nlliibiiti's  of  ilrnmatic  elociilioii  and  efTecl. — 
3/ad  ISrss,  ami  Lei  ilw  dreadful  engines  of  eternal  mil,  hy  the  former, 
arc  t»u  songs  entirely  ninde  up  afcapable  posBagei.  In  The  Mes- 
siah, Ilerailes,  Samson,  and  Jepfdha,  and  indeed  in  almost  all  Dah- 
dcl'b  Oratorios,  there  are  Recitatives  which  derive  all  their  sublime 
effects  from  the  power  which  tbe  singer  bat  to  enter  into  the  feelings 
of  (he  composer,  and  to  illaitrats  hi*  af^Miently  plain  ideas  witb  tba 
fiill  force  of  dramatic  and  vocal  BzeevtiaB.  D^per  md  deeper  still* 
it  perhapt  tlie  most  perfeot  instuiee,  whets  tbe  cver-varyiog  pauiou 
demind  all  (hat  change  of  tone,  force  of  eloevdifn,  and  Ih?  wnt 
melting  pathos  can  oonvcy— fiw  Ibo  mcirt  part  tbtas  t&cti  ara  pro- 
duced by  the  agency  of  energetic  and  pathetic  declamation. 

The  principles  we  have  thus  endeavoured  to  elucidate  in  Recita- 
tive, nrc  hU  cnpalilc  of  being  a|)plied  lo  Air,  but  in  a  di'gree  liiiiiled 
by  the  nature  of  such  coinposilions,  by  tbe  time  and  by  tbe  inebHlj-, 
wliich  is  more  continuous  more  connected,  and  more  strictly  vocal 
than  rccilulivc-.  The  clocnlion  must  therefore  be  more  uniform, 
and  the  transition,  if  not  lets  marked,  yet  not  sa  sudden.  However 
certain  tongs,  Tolol  eclipsef  for  instance,  or  Sound  an  alarm,X  ^e 
more  completely  declamatory,  yet  all  admit  of  the  diiplay  of  eli^ 
culory  powen.  Tbe  dillbrencc  between  a  cold  and  an  impasrioned 
ringer  wUl  lie  found  principally  to  reside  in  the  degrees  ot  velie* 
nencc  which  tbe  one  employe  abovatkeotfaer;  andlheKd^reeB  are. 


*  Jcptba.         t  Swaisa.         |  Jodai  Maccabwut. 


ELEMENTS  OF  TOCII.  8CIEHCE. 


143 


ehitBy  inparfetl  by  cuergy  of  deliverj'  and  modiGcatiaa  of  power, 
ipeech  and  tooe  bolh  minUterlDg  to  conception  and  feeling. 

Besidep  those  expedients  ve  have  alreadj'  conaiilered,  the  licence 
which  the  Italians  name  Tempo  rubato,  or  the  taking  a  portion  of  the 
duration  from  one  note  and  giving  it  lo~  nnotlier  is  one  ot'tliegKfttett 
MpslopawerfuIcloculioninBiiiging,aiid  enables  thesingerfreqaeBtljr 
to  throw  great  force  upon  a  word  of  importance,  which  would  olhat- 
iriM  be  deprived  of  ita  naeuiiDg  hy  (he  uoifcmnil;  of  the  panage. 
Tbe  abridgaramUsfeuch  wordi  u(ie(to,itf,Ar,mjr,&c.  arecor*- 
Moaly  Ibe  otgects  of  Ibii  nile,  and  indeed  we  frequently  find  long 
and  ahwt  syUablca,  or  such  a  triiyllable  at  repMloKce*  (which  con- 
■iiUafa  ahort,  a  long,  and  a  short  syllable,)  set  to  notes  of  equal  times, 
la  thia  COM  common  feeliogdictateslhe  propriety  of  shortening  the  first 
and  last,  and  allowing  the  time  thus  taken  to  the  middle  note — in  short, 
wherever  it  is  possible,  without  absolutely  disturbing  the  rylhm  or 
those  accents  with  which  the  cultivated  ear  cannot  dispense,f  the  time 
of  the  notes  should  be  made  to  conform  to  the  syllabic  arrangement 
of  qnantity  as  completely  as  possible.  The  abbreviation  of  a  note  will 
sometimes  also  enable  the  singer  to  enforce  a  word,  althougii  llie  time 
be  absolutely  given  up.  Thus  in  "  Seoenge  Timotkeus  criei^'X  s  song 
of  pnTedeolamstioiii  to  shorten  the  initiatory  oole  upo^  the  lirst  syl- 
Ubleof**A«eti|g;e"tendi  to  (he  forceful  GcpresEion  of  (be  word,  and 
(himighoiit  the  entire  nog  will  be  perceived  many  opportunUIei  foi 
limilai  efiectiTe  dlei^ioni. 

Anotfan  ma  of  ZVa^  nAeto  will  be  ftund  in  coffectlng  the  false 
accentnatioa  into  which  many  compoaers  have  fUlea.  I  haTeiaiely 
met  wHh  a  difficulty  «rf'thii  sort  which  a  Tery  little  adroitnen  would 
not  OTocome.  One  of  the  wont  may  lie  leea  in  the  words,  "Dal 
vftAovl  Mte,"  occurring  in  the  last  part  of  Hatbk'i  dnet  in  Ihe 

TWwdlhrfft. 

f  The  strict  abiemnce  of  time  is  ninch  more  important  than  it  ^ipeara  to 
ears  nnacenstomed  to  ItilinillBtiaiis;  and  therefore  young  singers  and  particn- 
larly  amalemrt,  wbo  are  not  often  aabjected  io  iu  restrainls,  should  be  on  their 
guard  against  the  sedacdoni  of  their  own  canRned  acquulntaucc  nilh  tbeeflecli 
of  a  tiTMcb  of  measure,  accent,  or  rylhm.  The  ear  of  a  Uiorougb  practical 
■Duslciaa,  we  rnvg  assure  them,  ii  as  much  ihocked  when  the  time  is  broken  as 
when  the  note  is  eotof  tmw,  for  the  knowledge  of  both  are  the  remits  of  long 
and  fixed  hiUts,  whldi  cannot  brook  distnrbance.  The  tyro  In  art  Ceds  Utd« 
of  this,  bntsboud  not  tiierelne  distrust  or  brave  the  precepts  of  npeiienee. 

t  Aleaader'*  Feait. 


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144  ELEUEtm  OF  VOCAL  SCIENCE. 

CrtaSon,  '^Graeefut  Consort,"  wbcrc,  miAmtf  comiag  on  tbeaocentnl 
part  of  the  bar,  lerersce  the  qaontity  of  the  void,  nukiDg  teilh  long 
and  oal  short*'  It  can  however  easily  be'  restored  hj  canj'iiig  the 
the  tune  ef  the  vrord  but  bj  a  semiquaver  into  the  lime  of  the  note' 
allotted  to  tbe  syllable  mlh. 

'  1  now  call  npon  the  stodent  fa>  nmetnber  that  Ibete  few  pieoepb 
and  examples  are  bat  hints  to  be  developed  and  improved  b;  his 
ownunderatQading  sndstady  of  the  subjects  which  may  be  presented 
io  bis  choice  and  esamination.  I  can  only  endeavour  to  point  out 
(be  path  which  he  is  to  tread,  and  shew  hitn  the  footsteps  of  some  of 
'those  who  have  occopied  and  who  beckon  him  on  to  the  eminences 
of  art.  Numerous  indeed  are  the  applications  and  the  examples 
which  might  easily  be  found  to  illustrate  further  the  same  general 
notions,  for  every  song  is  susceptible  of  the  principles  laid  down  by 


TIHOTHEUS. 


REMARKS  ON  INSTRUMRNTAt,  COMPOSERS. 


held  at  the  prsKot  daj  among  bH  cIogsh  of  |)eople,  and  in  none 
more  than  the  rnsliionable  world,  mtint  conlribute  greaMj  to  facili- 
tate the  iraproTement  of  so  delightful  a  science  both  (heoTettcally  and 
practically,  and  indeed  it  is  to  this  increasing  stimulus  tliat  the  more 
elaborate  improvement  in  inslntmental  music  may  be  traced.  Since 
Hatdn's  time,  composers  finding  bow  mucli  Lis  superior  talent  in 
this  branch  of  tiie  art  was  appreciated  and  applauded,  have  cndea- 
Toured  not  only  lo  iniilate,  but  to  surpass  bim;  a  labour  of  no  small 
liifficnlty,  wlieu  it  is  considered  that  his  whole  life  (from  13  years  of 
age)  was  devoted  lo  composition  chiefly  in  concerted  pieces.  But 
fortunately  for  the  lovers  and  patrons  of  music,  Ibis  desire,  thii 
prusewortby  emulation,  has  not  been  unsuccessful,  for  it  bai  pro- 
duced composers  whom  Havdh  would  rejoice  to  applaud,  (vera  iw 
U™g)t  and  vrhose  works  have  the  certainty  of  Temaining  king  afla 
they  thenuelves  cease  to  exist.  In  the  hope  that  a  ftw  obiemtioni 
directed  to  the  pecnliar  style  of  tome  of  the  most  eminent  anthon  of 
the  present  time  from  one  nho  ii  binuelf  a  professor  and  a  true  ad* 
Hirer  of  snpertor  talent  and  genius  whererer  found,  may  not  be 
wholly  nnentertaining  to  the  yoonger  amateur  and  student,  I  ahail, 
if  yon,  Sir,  may  deem  this  first  letter  deserving  a  place  in  the  Musical 
Itt^view,  cojitinuu  to  send  you  my  rcuiFirk^  on  Instrumental  Com* 
posers.  To  prevent  any  idea  of  undue  preference  il  u  my  intention 
to  class  them  alphabetically ;  and  in  this  order,  by  a  curious  chance, 
the  two  greatest  composers  are  iirst  presented  to  our  view.  The 
Ust  stands  thus : — 


1.  Bebthovi 

a.  CHEnUIilN 
:!.  Cle«i;.vt[ 

4.  CUAMEH. 


5.  Humh: 
a.  Kalki 

7.  RiEs. 

8.  Sam.  ' 


Wesley. 


146  RBUABU  ON   INSTnUMEtJTAT.  COMPUSGHl. 


Bj  tbfl  above  it  will  be  seen,  tlial  out  orciglit  autliois  enumerated, 
only  tHO)  the  fint  and  lecond,  are  genaraUj/  known  ai  sjniptioDislit 
allliongli  tbelhiid  and  BeYoiIb  are  compoieis  of  levenl  pieces  for  a  full 
orclieslra,  and  the  rest  are  such  Gomplele  masters  orabilil;  for  ke^ed 
inslmraenls,  that  to  omit  tlium  in  Ibedc  remarks  would  be  no  less  an 
insult  to  them  tban  fo  tbeprofewion  in  general,  more  panicularlj  as  the 
piano-forte  now  jielils  to  no  instrumcDt  in  the  number  of  its  students 
and  admirers.  We  therefore  begin  first  with  Bbetuovbm.  If  aujr 
man  cap  be  said  (o  enjoy  an  almost  universal  admiration  at  a  com- 
poser, i(  is  Ibis  original  author— who  disdaining  (o  copy  hit  prede- 
cessors in  any  the  most  distant  maimer,  bus  notwithstanding,  by  his 
energetic,  bald,  nnd  iincoinnion  <ilvie  of  ivritinj^,  cnrricd  nivay  tlie 
|)rizl^  frum  our  modern  Olymjius.  f  lis  peculiar  beauties  muy  be  enu- 
merated as  fallows:  originality  of  invenlion— uncommon  passages,  a 
very  eneigetio  maiuier—imitative  passages  nlmost  innumerable^  and 
abilrate  loientific  modulalion.  Tbc  first  of  these  peculiarities  no 
littceie  lorer  of  moaio  who  baa  beaid  any  of  tlie  symphonies  will  rc< 
fuie  to  admit,  and  it  ii  principally  to  tliia  moat  prominent  feature  in 
all  hit  works  that  tlie  lame  he  bat  aoqnired  it  owinff.  .Tbene  ia  toit» 
thing  in  tiie  fint  movement*  of  all  hit  ovoitures  and  tympbonies, 
wfaich,  to  the  bearer,  conveys  a  clear  imprassim  (hat  tbe  piece  is  not 
similar  to  any  he  ever  heard  befim  by  other  CoropoKis.  The  fre- 
quent employment  of  discords  unresolved  with  a  full  harmony,  the 
apparent  sombre  cast  of  expression  by  a  continual  richness  and  depth 
of  the  basB,  the  evident  preparation  for  some  beautiful  allegro  or  vi- 
vace movement ;  all  these  conspire  to  raise  tbe  author  in  onr  estima- 
tion and  to  keep  our  attention  alive.  Yet  when  he  dues  loud  us  to 
the  quick  it  is  not  upon  a  light,  unmenniiii^',  ur  <!:uic('-HLc  jiassage 
(hat  he  choosea  to  work  ;  conscious  of  liis  ri^-^auices,  \\t  gives  an  ex- 
cellent subject,  gradually  rising  intb  importance  as  the  instruments 
oue  after  other  join  in  the  stringed  cliorus,  and  when  (as  Maistek 
Macb  would  say)  that  vast  conchording  unity"  of  the  whole 
band  comes  "  thundering  in,"  we  perceive  with  what  admirable 
skill tbeorchettra are bToughtIogether,and  ofterwardtto  tlie  latter 
part  of  the  piece,  continue  our  admiration  of  the  sclentifio  maimer  in 
which  the  parti  are  worked  up.  The  concluuon  leaves  us  in  regret 
In  tbe  opening  of  the  introductory  aymphony  to  bit  oratorio,  "  The 
MoitiA  of  OUoet"  the  aecond  pecnliarEly  may  be  discovered  vliere 
the  trombonea,  hitherto  only  naed  to  fill  «p  and  give  •Stet  (o  the 


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REUARKI  ON  IMTRUMENTjtL  rOMrOlBRS.  147 

baiB  in  full  pieces,  are  found  beginning  by  tliemsclres  (entirely  obli- 
galo)  a  sort  of  fugul  subject  of  few  notes,  beautifully  conceived  in  the 
mioor  key  itliicli  has  a  most  uncomraon  effect ;  nflcr  tliis,  the  instru- 
ments come  in  wilb  sucli  a  &tyle  of  expression  nnd  nimuist  tcrriSc 
feeling  as  miglit  well  be  supposed  to  agilale  the  minds  of  those  who 
wifncsKd  tlio  ''agony  on  tliu  mount."  I'lie  whole  movement  is  so 
afiixling,  tupeijor,  and  appropriate,  that  1  know  of  no  other  piece 
like  it,  excepting  Hatoh'b  introdnclitm  or  representation  of  Ciioor 
in  THe  Chtidion.  But  indeed,  in  Ifaii  particular  instance,  Bebtbo- 
VBM  has,  in  mj  opIoEon,  lurpaned  his  imdecenar,  for  Hatdh  only 
reprcMnled  by  his  beautiful  introduclion  Ifae  Goofusion,  the  impene- 
liable  darkness,  and  fhe  gradnsl  nioulding  and  formalion  of  the 
elemenla  by  the  great  Creator;  certainly  his  conceptions  and  the 
subject  producing  them  arc  grand  and  awful,  but  yet  there  is  a  sub- 
limity in  every  thing  relating  to  Uie"Son  of  Jehovah,"  an  eager  in- 
terest in  all  the  circumstauccs  and  actions  he  was  engaged  in,  which 
to  persons  who  have  any  feeling  in  such  matters  generally  convey 
a  ray  inlense  sympathy  for  his  lifo  and  sufi'uring«.  It  is  precisely 
this  kind  of  feeling  that  the  movement  is  intended  to  convey  ;  but 
we  must  not  enlarge  upon  this  topic;  suffice  it  to  say,  that  the  stu- 
dent may  lind  in  nearly  every  page  of  the  oratorio  (particularly  the 
opcningof  the  last  chorus)  enough  to  convince  him  that  this  author 
lias  fully  developed  his  skill  in  uncommon  passages.  The  next 
peculiarity  I  have  mentioned,  b  the  energetic  manner  or  style  of  his 
compositions.  It  is  not  possible  to  adduce  separate  instances  of  tbii 
beauty,  for  every  single  piece,  whether  symphony,  overture,  quintetl, 
or  piano  forte-sonata  abounds  so  plentifully  with  it,  that  unless  I 
vne  to  tmvwribe  neariy  the  whole  oT  any  one  of  his  mtkt,  I  could 
mridojusticetothemerithediscoveninthistespect.  Toineorponte 
in  one  or  two  examples,  very  fet^ontof  the  many  that  every  actire 
student  may  discover  for  himself,  I  will  mention  the  cborus  in  the 
above  oratorio,  "  Here  seise  >um"  in  which  the  soldiers  and  others 
in  search  of  the  Messiah  having  found  him,  arc  exulting  with  fero- 
cious joy,  while  the  disciples  in  plaintive  notes  bewail  the  fate  of 
their  master ;  this  is  a  truly  contrasted  piece.  *^  My  toulaiikrage"  is 
another  beautiful  specimen.  In  instrumental  pieces,  the  symphonies 
in  C,  that  in  F,  and  the  9U),aboundwith  the  fourth  peculiar  beauty 
of  BsBinovEH's  style,  and  indeed  lo  do  all  the  others  indifferent 
degrees,  rooie  or  less ;  but  chiefly  in  piano-forte  moEic  he  has  shown 


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148  REMARKS  ON  I NSTfiU MENTAL  COllFOSERa. 

na  cxtraordiaary  passion,  bb  i(  mBf  be  called,  fur  iniitation.  Every 
one  wbo  has  practised  and  pctnsed  (lie  works  of  antecedent  writers 
for  Iho  hurpsioliord  and  piano  forte  must  acknowledge,  thnt  nilh 
tbccxceptbn  of  such  authon  as  Hatdn,  Mozabt,  and  Hahobl, 
(foi  his  harprichoid  leasoDB  ma;  be  ranked  with  anj  compositions 
for  any  instriimenf}  lliat  in  iDnning  arpeggios,  sliding  Uifl  i^t 
over  the  left  hand,  worlting  np  unmeaning  and  cramped  passages, 
together  with  a  plentifal  portion  of  trills,  turns,  sliakea,  and  demiie- 
miqnavers,  the  whole  arl  of  playing  tbose  iwo  instrumcnls  consisted. 
But  there  is  an  old  Italian  proverb,  "  Genius  makes  a  road  for  it- 
self. Beethoven  hns  struck  out  a  path  for  himself,  which  is  not 
more  original  than  appropriate ;  for  compare  the  sonatas  of  Sciiroe- 
TEH,  Scarlatti,  PAitADiivS,  or  even  (he  Bach's  with  his,  and  how 
vapid,  superfirini,  niul  iinmcaning  du  llicy  appear?  His  trios  for 
the  piano-flit (c,  vinliii,  and  vinloncHIo,  I  conceive  lo  lie  the  most 
scientific  of  llio  i>iniii>-r<)rle  iiurks  lu:  lias  ivrillen,  and  in  tlicm  may 
be  seen  innumerabli;  instances  of  tlic  manner  in  wbich  lie  uniformly 
(wheDevor  an  opportnntty  occurs)  interweaves  imitative  passages  info 
the  texture  of  tbe  piece.  After  the  opening  of  the  trios  uniil  about 
twenty  ban>  yon  discorer  no  symptoms  of  the  peculiarity,  bnt  then 
directly  begin  the  questions  and  answers  of  this  mnstcal  conTersaUon, 
and  they  are  brongbt  id  so  very  unexpectedly  and  nBlonOy,  as  not 
in  the  lout  to  break  the  flowing  of  the  movement.  There  are  some 
sonatas  of  bis  published  alLAvBNU'9,with  the  titles,  "  Sonata,  Letter 
A.  B.  C,"  that  arc  beautiful  and  aboand  with  imitations. 

We  come  now  to  the  last  of  our  authors  pecnlarities,  and  here  I 
am  fearful  the  admirers  of  Eimpiicily  will  say,  '<  we  do  not  consider 
dbrbwe  modulation  as  any  great  beauty  in  composition,  neither  do  we 
consider  it  as  any  proof  of  genius,  because  in  that  case  every  person 
wliocaii  modulate  is  u  f;cnin5."  To  this  I  must  in  part  agree,  with  the 
ri-crvT.liQM  of  a  jiitKituljr  [juiiif,  namely,  that  to  introduce  Unexpected 
unil  ab^trusp  moiliil.'ilioii  inlo  iiiilruraental  pieces,  the  composer  of 
real  latent  will  not  anil  must  not  sacrilice  taste,  expression,  and  origi- 
nality.  But  on  perusing  Dr.  Burney's  valuable  work  we  shall  there 
find  ft  curious  and  not  uninteresting  refutation  of  the  above  opinion. 
From  thefirst  ages  of  music,  and  when  the  first  (X)mpositious  m  partt 
given  to  the  world,  it  was  Ibougfit  necessai^  by  the  theorists 
and  contrapnnlists  of  thoday  to  give  nda  for  modulation,  and  woe 
to  tbe  tdveaturoui  hardened  being  who  darad  tacrile^onsly  to  break 


REMAItKI  OH  INITRUHBilTAL  COUPOSKRI.  149 


through  them.  But  not  withstanding,  Monteverdb  publiBhed  bis 
"syslcm  Dfdbcnnts."  Immcdiiitcly  the  whole  host  of  critict  were  up 
in  armii,  and  coiiUI  scnrct^ty  express  their  astonishmenL  and  horror  at 
so  audacious  an  attempt.  Yet  in  time  (Aesewcre  received  as  current, 
nnd  other  composers  gmdualljextended  the  number  of  chords,  deti- 
viitiTC  discords,  and  modulation,  until  Haydn's  time  each  aacceeding 
gcncialion  of  musicians  improviug  upon,  and  rejecting  the  severe 
fetlen  which  the  diIm  impoeed  by  the  preceding  one  vould  bave 
laidDpon  him.  So  thatthemodalation  which  the  iroitb;,"  Thomas 
Tidlis  hight,"  and  bit  scholar  "  Haister  Bird,"  would  have  thought 
rery  beteiedox  and  haisb,  Cobblli  adopted  snd  introduced  into  his 
compositions  withont  fear  of  criticism;  and  what  ever  he  would  have 
chaTBcleriied  as  botd,unlicei»ed,  and  withont  precedeal,  Hozart, 
Haydn,  and  their  imllalors  looked  upon  as  nothing  extraordinary. 
Accordingly  as  music  tiet-ps  on  gradually  accumnlaling  and  enlarging 
its  territories,  it  surely  cannot  be  expected  tliat  every  composer  is  to 
tread  in  tlie  exact  jiath  of  former  authors f  If  tliese  observations  lie 
admilled  as  corrcci,  it  must  consequently  follow  that  ilie  moat  modern 
writers  nn-.  those  in  whose  works  modulation,  both  scientific  and 
abstruse,  is  displayed  to  (he  fullest  advautage.  liEBTHOVEN  will 
not  be  forgotten  in  the  number  of  these,  he  hai  entirely  out-stripped 
every  other  composer,  except  UozABT  in  this  respect,  and  there  is 
very  little  fear  of  Handel's  laconic  criticism,  "tune  Z)  tramp, 
now  A  fnmqi"  being  applied  to  his  compositions.  The  student  will 
find  nuiBerom  examples  of  tbis  hind  of  modulation  in  bD  his  piaoo- 
forie  pieces;  one  or  twowUl  be  sufficieat  lure  to  notice. — Tnthednett 
on  a  "  JTteme"  by  GouNTW&LSTxiH>fhe  variation  in  C  minor,  when 
the  fint  performer  is  phying  the  ait  in  the  minor,  wltlla  the  second 
is  modnlatingand  winding  round  almost  the  whole  repertory  irf  chords, 
in  a  masterly  and  beautiful  style  to  the  end  of  the  rariation.  The 
tlirec  sonatas  op.  IS  -,  the  first  and  tliird  of  these  exhibit  many  sue- 
ccssful  specimens  of  BEETHOveN's  singular  command  of  the  in- 
Elmment,  particularly  in  the  effective  Adagio,  and  in  the  Hondo  of 
No.  3. 

In  closing  my  remarks  on  BcctlioTcn,  I  cannot  feci  satisGed  with- 
out directing  the  student's  attention  to  that  unique  and  surprbing 
composition — "  Tlie  IluUle  Siiifonia,"  if  grandeur  of  effect,  origi- 
nality of  invention,  and  energetic  passages,  arc  to  be  considered  ns 
necessary  constituents  of  that  musical  compound — an  instrumental 


]bO  REMARKl  ON  INSTRUMENTAL  COHPOBERI. 

piece ;  il  is.  not  probable  Ibol  anj  otiier  piece  of  (he  tame  length  can 
Tie  with  tliia  apccimea  of  what  a  man  of  genioa,  and  onlj  a  man  of 
raU  geoins,  can  aocompliik  when  he  ia  determined.  In  the  midst  of 
all  the  Hemingconftuion  which  tlte  title  of  this  piece  would  lead  ni 
to  expect  in  tlie  perfonnance  of  it,  there  is  one  panage  trifling  ia 
ibel/,  hot  which,  from  the  way  it  is  introduced,  ahewa  the  matter- 
hand  as  full;  at  the  mot!  elaborate  lymphouy  could  poaubljr  do.  I 
allude  to  the  air  of  Malbrouk,  which  is  at  the  beginning  of  the  Sin- 
fdnU,  understood  as  the  nntional  miLrch  placed  by  the  French  army 
in  advancing,  bntas  Ihc  hurrid  "  condiBion  worse  confounded"  pn^ 
ceeds  gradually  to  nccamulale,  we  are  morally  cerlain  that  the  enemy 
is  giving  way,  (hey  fall  in  nnmbert  under  (1:e  Bi  iUsb  nrmy,  the  whole 
band  are  dispersed,  and  only  one  Gfer  is  heard  atlemiitiiig-to  keep  up 
llic  fast  fleeting  valor  of  his  counlrymen  by  playing  Malbroulc,  but 
the  fatigue  he  has  undergone,  and  llie  parclitrig-  Ihrist  he  endures, 
obliges  him  to  play  it  in  llie  minor  key— sorrowfully,  instead  of  the 
joyful  march  of  his  comrades.  It  may  be  considered  fanciful,  but  I 
really  think  there  is  as  trac  and  gennine  a  touch  of  nature  in  this 
paatnge  as  can  be  found  even  in  the  dramatic  writings  of  the  '*J3anf 
of  Axon." 

At  least  Ihe  ndmiren  of  simplicity*  will  not  qnanrd  with  him  here, 
although  he  ma;  never  gain  Uidr  entire  approbatfam,  from  faavii^ 
BO  ftequonlly  made  use  of  Uiose  abstrnie  kind  of  ti&rmoniee)  which, 
by  (heir  oaths,  that  brotherhood  are  bound  to  repel  and  oppose. 

Hy  next  paper  will  contain  temarki  on  Chbsqbiri  and  Clb> 
HBNTi.  In  closing  this  give  me  leave  lo  congratulate  you  on  the 
groat  success  your  valuable  Review  has  obtained  in  the  musical 
world,  not  more  complete  than  ilE  merits  deserve,  or  than  itscon- 
duclon  were  entitled  to  citprct. 

Believe  me,  Sir,  Yours,  truly, 
NoVEMBEn,  1820.  F.  W.  H. 

•  Speaking  ot  simplicity  in  muwc,  the  mind  nttarally  assodates  the  name  of 
WiLLUii  Shield,  (nho  has  lately  obtained  a  pMt  to  which  he  does  bonoor.) 
Tills  coniposcr's  eminence  is  wdi  known,  and  uthongh  I  feel  the  greatest  ad - 
Diiration,  and  jirld  to  none  In  the  BtreuEtfi  of  that  admiiation  for  him,  yetl, 
cannot  liel|i  thiakinghe  has  driven  Iiit  loveof  slni|didty  to  ntberaoimprtideDt 
lenglli,  when  iu  "The  Introilaction  fa  Harmon]'"  he  exalts  bito  bcautirul  <pe> 
dmeni  of  that  admirable  quality,  sachsoiigi  as—"  Tke  pretty  ISIte  Hearl." — 
Mut  llooK's  '^Jaeii/  JJomir,"  and  "Sing  aiutg  ^Sipatct,"  bavaan  equal 
cliauceof  approbaliwi  lor  the  same  reasoos. 


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151 


UUSICAL  PROPRIETORSHIP. 


TO  THE  EDITOR. 

Sin, 

The  question  propoieJ  in  your  Eiglitli  Numbor  (|iage505)  to  Mr. 
Davy  in  tlie  notice  of  a  song  wbicli  he  hml  reccnllj  publisbeil, 
appears  to  me  a  dsmantl  founded  on  comnaon  buncsty  and  fuLriii;s5. 
Vou  ask  that  gentleman,  whcllicr,  *'hehad  iilr<»dy  adapfed  words 
to  an  Indian  melody,  before  tite  same  melody  appeared  in  tlic  first 
number  of  Moore's  National  AIra?" 

It  ia  not  my  inteation  to  make  any  porsonal  allodona,  particularly 
to  a  gentleman  vtio  mnlu  so  ileterredly  eminent  in  bit  prolisauon  as 
Mr.  Dayy;  bat  from  your  ovn  principle  of  justice  I  tnist  yoa  will 
permit  me  to  ofibr  a  fbw  lemarks  on  Ifae  shameful  manner  in  trkich 
musical  copy  right  has  been  invaded,  and  property  which  is,  and 
ought  to  be  considered  sacred,  wantonly  violated. 

National  airs  are  correctly  supposed  to  be  natioual  property,  but 
tbey  arc  only  so  being  the  unmodulated  ditties  of  the  multitude  or  the 
wild  mountain  slrnins  of  the  peasant— songs  that  have  been  orally 
preserved,  for  centuries ;  such  of  course  evtry  person  is  at  liberty  to 
publish,  or  rather  print;  but  when  a  man  of  genius  and  of  science 
softens  down  the  asperities  of  an  air  «hicli  has  long  becji  familiar  lo 
every  ear,  and  by  his  labour  and  [)cea!i;ir  skill  prodncL's  new  beauties 
and  harmony  which  the  primitive  melody  never  p^Js^^;ssed  ;  I  would 
ask,  is  that  melody  snatched  from  (lie  vulgar  month,  rufined,  improved 
and  adorned,  (nficn  at  more  paint,  than  the  iormation  of  an  original 
composition)  U  (hat  melody,  to  he  Considered  as  common  property, 
and  (he  arranger  possessed  of  no  farther  coatronl  over  (he  dbposal  of 
it  than  any  other  individual  of  the  community?  Certdnly  not,  and 
Ibelieve  I  am  borne  out  in  this  conclusion  by  the  opinion  Lord  El* 
lenboToagh  delivered  on  a  recent  trial,  that  "  $o  far  at  the  song  wot 
aUertd,  U  it  oripaal"   These  I  think  were  his  Lordship's  words. 

What  I  have  said  may  not  be  considered  as  partioularly  applicable 
to  Mr.  Davj ;  I  do  not  intend  it  to  be  so ;  my  object  is  to  speak  in 


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I5S 


HUiilCAL  PROPtUETORIHIP. 


genanl  (ernu  of  the  disgraceful  (ricks  (1  can  find  no  beUei  name)  n 
loDgtmdaoscandalou^;  practised  bjmsnj'vlioougbt  fobavebeen 
above  teaortiiiff  to  snch  infiunDiu  dishonestia;  my  mh,  and  it 
appears  to  be  yoars  Mr.  Editor,  is  to  see  talent  fairly  estimated,  to 
see  every  man  receive  the  nages  be  has  earned,  and  your  candour  I 
am  con?iQCcd  will  coincide  witb  mu  in  the  endeavour  to  drire  out 
Ihoae  droneS]  nlia  would  prey  upon  llic  honey  collected  with  punfal 
indnitiy^  and  benefit  by  the  creditable  labour  of  others. 

Tbe  protection  of  copy -right  is  a  matter  of  general  importance.  It 
u  tbe  opinion  of  Sir  Jolin  Stevenson  that  "the  aorldsouldbein  a  tad 
ilale  if  copy-right  was  not  protected,"  and  further  that"  music  is  of 
IXSEXSE  advantagelo  Che  uiorldif  fromno  other  cause  than  the  thousmdt 
of  pounds  coUecled  by  its  aidfor  CM^RtTABLEpurposes"*  but  without 
descending  to  the  erudite  manner  of  .Sir  John's  ruasoaing;  where  i» 
tbe  stimulus  for  exertion — where  the  incentive  to  action — if  pillage 
—open  and  direct  pillage  be  permitteil  ? 

Suppose  Tot  instance,  I  am  a  publisher  of  music  (which  in  the 
present  state  of  affairs  I  am  happy  to  say  is  not  tbe  case)  a  &ii  and 
honorable  tradesman ;  I  hare  tliat  feeling  for  my  own  respectability, 
I  have  that  feeling  towards  tbe  public,  that  I  do  not  wish  to  claim 
their  patronage  for  ephemeral  productions,  nor  with  an  inundation 
of  worthless  ballads  to  ovei-wbdm  the  boundaries  eS good  (aste:  I 
consequently  employ  men  of  known  talent;  the  first  lyrical  writers, 
and  the  first  musicians  of  the  day,  and  I  have  to'pay  a  suitable  price. 

Perhaps  lifty  pounds  will  be  considered  a  large  sum  fur  a  single 
so.ng,t  however  let  ussuppose  half  that  money ;  my  song  is  published ; 
should  it  prove  what  is  called  unsnccessful,  that  is  have  little  or  no 
sale,  the  weight  rests  upon  my  sbonldera  and  no  one  will  step  forward 
to  share  in  my  expcnccs,  but  on  tbe  contrary,  should  that  "  awful 
tribunal"  public  opinion,  prooouoce  a  fevourable  decision  and  my 
song  become  popular,  I  soon  discover  many  wbo  are  Hndly  willing 
to  'share  the  larger  porUon  of  tbe  profit,  to  which  I  must  certabily 

*  See  tlie  eross-eumlaatioD  of  Sir  John  SterOHsoii  on  tijo  Iriil  of  tVhitaker 
v.HInisiatbe  Caort  at  Exchequer,  Dublin,  M^iy,  1S15. 

f  "Clencnti  and  Co.  havegiren  as  much  as  lifty  guincus  Tar  ^  musical  com- 
podfionwitlioal  words,  and  more  than  one  hundred  for  one  with  words."  Sk 
Mr.  John  Green's  examinatioa  by  Seijeant  Johnson  in  the  case  Whttaker  v. 
Hime.  "Tba  writ  of  sonp  nnist  be  rffslue  when  that  genHemaa"  (Mr. 
MoomJ  '■i«GelTea  500(.  a  year  Ibr  Ua  cAn^odtiant  in  that  way  tit^  one 
penen."  See  Sr  John  SterenMm's  croH-enuiduatwn  in  the  same  case. 


Digilizefl  Dy  Google 


MUSIC4L  PKOPHILTIIHSIIII*. 


consider  mjsclT  as  fairly  enlitlnl ;  my  aoiig  ii  iinuitiiiak-!)'  iiriututl 
mnd  published  by  others,  niid  I  liave  the  mortificaliou  of  seeing  it 
exposed  for  sale  at.  tlircc-pccicc,  and  thumbed  copies  for  two- pence 
halfpenny,  on  almost  every  old  book-slaiid  iu  the  courts  and  alleys 
of  tlte  metropolis. 

It  maj  be  »id,  cannot  the  person  thus  injand  nek  redress  hj 
]kwI  Hev  is  literary  copy-right  preserved  I  Lobd  Maksfikld 
hu  declared  nnutc  to  be  a  tdenee,  and  that  it  may  be  icHUn/  do 
not  thuefiire  the  wma  riatates  eqaaily  i^flf  to  Htarai;  and  motioal 
copy-right?  andbuttnotbeendedded  tbat  **a 
^ paper tt  atmehwUMm  thtdpntedknatlheJtrgeatfiiSal"  Tbe 
nply  wonld  b^  that  mmical  piracy  has  reached  sad  an  extent,  it  is 
beyond  (he  meant,  nay  the  power  of  (w  individaat  tocrudi  it;  and 
many  whoso  interest  it  ought  to  be  to  suppress  this  evil,  have  from 
the  force  of  habit  ijecoine  supporters  of  a  system,  at  once  injuriom 
to  the  prot'essional  man,  and  ruinous  to  the  tradesman  of  principle. 

Anollicr  s|)cr,ics  of  piracy  (now  bo  general  that  it  is  scarcely  can- 
rAAcxed  as  unhaiidsome)  is  that  of  faking  the  title  from  any  popular 
song  wliich  happens  to  be  adapted  to  a  national  air.*  This  at  least 
iadicatcs  a  contcuiptiblc  feebleness  ofj  mind,  and  has  every  appear* 
iDce  it  must  be. acknowledged  of  a  catch-penny  deception :  for  ex- 
ample, what  right  have  I  to  publish  the  name  given  by  Mb.  Mooae 
to  any  air  in  his  Irish  Melodies,  which  work  I  believe  is  the  propei- 
tyof  Ha.  Povaa !  Yet  1^  mego  into  s  mnsic  shop  and  enquire 
l(wi(Iet  as  suppose  by  way  of  ilTustration)  ■■  P£awc^  JTcI^idn/tiiA 
Mebi^,  mth  ■atrialioiu"  the  reply  would  be— -there  is  no  such  air 
publisbed  ;  but  let  me  ask  for  "  Fit/  not  yet"  and  I  am  given  the  ait 
I  enquired  for.  Thus  the  ancient  and  original  name  of  the  melody, 
that  which  is  public  properly,  is  sacrificed;  and  why-'  because  (he 
composer  iu  question  rests  his  expectation  of  the  sale  of  his  arrange- 
ment, not  ou  its  own  merit,  but  on  Ibc  celebrity  ol  Mr.  Moore's 
ptoduction. 

The  violation  of  copy-right  does  not  end  here;  l^al  redress  can 
be  obtained  with  a  degree  of  comparative  &cilUy  when  unauthorised 
penona  publish  a  fac-simile  of  your  ar<nlc,  but  imitalioas — lenrile 

*  In  Moore'e  Irish  Melodies  and  hIro  h»  National  iJn,  tiw  title  which 
wtinguishcs  each  song  is  taken  from  (he  rorsi-a  or  tbe  sulyect  which  Ma. 
HoORE  has  wrllteii  to  1(,  uiid  conseqiir'ntly  shauld  Ik  COc^iUred  IS  his  pro. 
perfy,  particularly  ai  he  has  giTea  the  original  name  nwwfl  to  each  a^. 
VOL.  III.  HO.  X.  X 


Digitized  t)y  Coogle 


154  MUSICAL  PRQPRIETOBSBIF. 

am]  il^rading  unilatiiHU  are  pat  fottb  ai  wi^nab;  tboc  are  a  sert- 
oiu  iiyury  to  Uw  piapridor,  and  baVe  alxt  a  teodmcj  to  lomi  the 
author  in  public  MtioiaUoa  and  nndeniiine  the  ibnndatiDn  <tf  hb 
ftme- 

TfaecaKof  PoirBB«ntaWAi.KBB,  I  preiume  to  begonendlj 
knovD,  where  two  <rf  HB.  Hoobb'i  aoitgt  from  tbe  Iiirii  Hrfodia,* 
both  beaaUftil,  bnt  one  periMpg  the  happirat  and  most  aparUiBg 

eflusionofbis  genius,  were  garbled  into  wretched  parodiet  and  vended 
by  the  defendant  as  the  origuwl,  which  however  excellent,  was  not 
(aorortanately  for  the  plaintill)  inimitable. 

Pick-pockets  we  find  every  day  b'snaportcd,  and  forgers — men 
who  pass  off  falsehoods  and  snbslitnle  irailations  for  originals — 
Iiangcd ;  indeed  forgery  seems  to  be  a  crime  which  our  legialatnre 
will  not  pardon — this  b  a  commeFcial  oonolry,  and  good  Ifuth  mnst 
be  maintained. 

I  bare  ta  xptHa^ie,  Mt.  Editor,  for  having  extended  my  letter  to 
SitA  a  length,  but  I  hope  that  it  may  be  prodnctive  of  some  benefit, 
and  I  dtonld  feel  happy  Aonld  I  be  allowed  to  rewme  the  nibjeot  at 


I  am.  Sir, 

Your  very  humble  Servant, 

T.  C.  C. 

•  The  melodies  to  which  I  allude,  are  "  Fli/  not  yet,"  and  "  Eveben't 
Bouer;"  as  a  specimen  of  the  manner  of  Mu.  Walker')  imitstiinu  I  will 
give  [nrt  of  the  first  lerscs  of  each. 

"  Fly  not  yet,  lis  jost  the  hour, 
When  pleunre  moTS*  with  briikeH  power. 
When  Itui^  deck'd  wlfli  plDlani  blight 
Gxerte  wlffi  aont  of  mirth  ber  flight. 
And  Iner*  eovit  die  moon,"  ftc 

"Oh,  ling  for  the  hour, 

When  to  Evelccn's  Bower, 
The  Knight  ofth^  Castle  a  courting  came : 

The  sun  It  abooe  so  bright. 

On  the  gloomy  mountain's  height, 
And  nalnreseem'd  to  snrilem  the  Irae  Knights  Bame  ; 

TheclaadspWdby, 

And  the  ctrar  Une  iky,"  ftc. 


TO  THE  EDITOR. 


Sin, 

M  acH  deliglitcd  wltli  your  Mujied  Renew  fnun  id  &it  apprnv 
ante,  and  convinced -tli  at  it*  sound  judgment  and  correcl  taite  are 
mon  likeljr  to  refonn  the  national  feeling  of  that  ddJgMfnl  Klmce 
than  an;  ibmg  irhich  has  liitberto  appeared  before  the  public,  I 
have  proceeded  through  your  Numbers  with  coDstatitly  increasing 
satiE  faction. 

In  tlie  cighlli  Numlicr,  I  have  been  greatly  pleased  wilh  No.  3 
of  the  Philosophy  of  Musical  Composition,  signed  M,  and  parlicu- 
larljgtve  the  author  credit  fbr  the  songs  which  be  has  pointed  out  as 
examples  of  the  moat  jierfect  adaptation  of  music  to  words.  On  that 
divine  composition,  In  sweetest  harmony,"  in  the  oratorio  of  Saal, 
Ternaries,  both  general  and  particatar,  are  snch  as  my  very  soul, 
in  every  organ  of  Its  sensiUUly  avows  to  be  moat  trne>  Nor  do  I 
feel  inclined  to  dissent  ftom  an;  observation  that  occurs  Ihronghout 
tiwtteatise. 

Ha^g  gntlfiedm^lf  by  paying  this  just  ti^mie  <rfe«nmflnda- 
lioi,  I  proceed  to  nwation  a  cnrioni  clicnmitance,  eoanected  vitk 
the  BDbject  of  the  esiaj',  Ibe  knowledge  of  which  lint  gave  me  the 
deureto  takftnp  tiie  pen.  Tour  moalcal  critic  lajrs,  and  I  heaitily 
agree  in  saying,  "No  one  would  probably  attempt  (o  leset, /jbioiti 
lhal  my  Redeemer  Uvelh,  or  Deeper  mtd  deeper  slillf  aftei  HakbeIo 
He  would  be  a  bold  man  who  should  Tcntore  to  give  a  new  air  (o 
She  never  told  her  laee,  or  Mi/  mother  Ndi  me  hind  ngr  Aofr,  after 
Haydn."   No.  8,  p.  398. 

Now  the  carious  dnmmslance  is,  to  my  certain  and  personal 
knowledge,  that  the  words  of  the  latter  song  were  written  by  that 
vory  ingenious  poetess,  Mhb.  J.  Huhtbh,  (sister  of  Sir  Evcrard 
Ilome,  Bart.)  on  purpose  to  suit  the  air  of  a  bcautifol  and  simple 
anilantc  of  PLEVi!r,'ti,  occurring  in  one  of  his  sonatas,  then  new 
and  fashionable.  Tlie  sonata,  being  in  B  with  two  flats,  is  one  of  a 
set  dedicated  to  the  Queen,  but  it  was  afterwards  published  singly 
by  ffland  and  Wcllcr.  The  fair  writer  bad  much  feeliog  for  rouslcy  - 
■nd  laeceeded  most  iiappily ;  and  the  song  with  that  original  tune 


156 


HiTDM'l  CAMIOKBTT. 


ii  DovT  hj  me.    ll  bogan  with  what  if  now  Ibe  ucond  venB,  "  '7u 

inii  lo  Ihiiik  Ihr  days  are  gone;"  and  in  (hat  simpk  an<]  original  fana 
hits,  to  my  mini),  a  tcrj  beautiful  elTcct. 

The  words  were  react  aftctvparti)  bj  Hatdn,  with  other  compo- 
sitions of  the  same  lady,  siicli  as  "  7'lic  mermaid' s  song"  &c.  and 
certainly  witli  hci  knowliilgt:  and  consent.  T)iis  set  of  airs  appeared 
(ogcthcr,  and  is  well  known  to  all  muMcitl  people.  Tliat  Haydn  has 
beaulifuily  set  the  words  it  is  impossible  lu  deny;  but  in  the  more 
florid  music  and  accompaniment  which  he  added,  much  of  the 
plaintive  character  belonging  (o  the  poetry  is  lost.  Uatdh  also,  for 
"what  Toaaon  I  never  learned,  chose  to  begin  with  the  second  verse, 
as  it  now  Btands;  but  certainly  with  inlerioi  efiect  aa  to  the  natural 
train  of  the  thought  and  poetry.  Tbelaraentatioa  upon  the  ndnen 
.of  missing  those  we  love,  ought  certainly  (o  introduce  tbe  whole,  ai 
it  did  in  the  mind  of  the  poetess. 

Now,  Sir,  if  you  will  only  consider  llie  words  apart,  you  will 
clearly  sec  bow  much  more  consistently  the  poetry  proceeds  in  tbe 
original  form  of  composillon.  It  begins  with  the  consideration  gf 
Ibe  sadness  of  Iicr  coiidiliim,and  describes  the  effect  of  it. 

"i'is  had  (o  lljink  the  days  are  gone,  &c> 
Tliea  she  comes  to  the  remonatmnce  of  her  mother,  for  which  we 
know  no  caoae  in  the  wigr  it  now  itands.   But  teeiog  ha  so  melno- 
choly,  ilie  says, 

Hy  molber  bids  me  biod  my  hair. 
For  why,  iiiyadie,tit>tiUuid  wecppftc. 
Which  we  .bod  iiot  Imn  joU  die  did. 

Why  Hatsk  wished  to  reverse  this  natmal  order,  and  how  tbe 
fair  author  conld  consent  to  it,  (except  that  she  set  less  store  by  her 
verses  than  they  deserved,  which  I  really  think  was  the  case)  it  it 
not  easy  to  say. 

You  will  perceive  from  my  introduction  that  1  have  no  wish  to 
depreciate  Havdn's  composition  in  this  instance,  but  I  tliaught  it  a 
tingolar  circnmsfance  that  two  airs,  of  so  very  different  a  character, 
could  be  ad^ited,  with  good  effect,  to  the  same  words.  For  the  first 
air  (he  mda  were  actually  written,  we  may  even  gny  thai  the  very 
thongbt  of  them  was  inspired  by  it;  and  yet  the  pastoral  beauty  of 
the  Mcond  hat  caught  hold  of  every  ear  and  every  mind,  even  of  my 
own,  1  confest,  though  I  long  wished  that  my  bvoorite  words  had 
bonsofibied  lontatnllievejypl^tiTeclianctsruigiiHdlyatamped 


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IIAVDN's   CANZOKKTT.  IW 

.  upon  them.  Should  it  suit  tbe  plcin  of  701U:  woik  to  pnblUi  thb 
.  commnnication  it  is  tvholly  at  yam  snrae. 

I  BID,  Sir,  jom's,  Vt. 

Wot.  i,  183a 


MEANS  OF  GIVING  AN  OPERA  TO  THE  ENGLISH. 


TO  THE  EDITOR. 

Sir, 

"V^oD  have  Ed  several  placet,  during  (be  contintuiace  ot your  Work, 

.introduced  dcUclicd  obBervatioas  upon  the  etatc  of  the  Eogliih  ami 
Foreign  Opera — trilh  relation  to  the  first,  most  particularly  in  jour 
lericff  of  Mb.  Bisbop's  dramatic  compotitiona,  and  again  in  jour 
review  of  The  Comedy  of  Errors.  Concemiug  tbe  last,  jour  notices 
have  been  more  frequent,  as  tbe  Foreign  Opera  must  of  necessity 
heat  intimate  coanection  trilh  the  several  composers  vbose  memoirs 
jou  have  from  time  totime  lubraitted  to  the  public.  A  correapondent 
iias  also,  in  a  very  early  Nomba,  by  an  abstract  of  Bbown's  clas- 
sical and  elegant  litlls  book,  diffused  the  knowledge  of  the  pbiloso- 
pbical  nay  in  which  tbe  Italians  bove  gone  to  work  in  the  coDstruclion 
of  their  seriooi  muiioal  drama.  Jt  u  however  to  be  remarked,  that 
UDM  Bbotk  \notOt  the  Italian  Open  baj  Usdf  nndeigoiw  eauU 
derable  andimportantchangesjinadmitUngtheinddents  of  common 
life  among  its  subjects,  and  not  as  before,  under  the  express  limilS' 
tion  and  division  of  tlie  opera  buIFd  or  comic  opera.  A  middle  stjie, 
something  like  our  sentimental  comedy,  has  been  introduced ;  and 
tills  middle  style  has  created  a  manner  of  writing  more  mixed  and 
impure  than  Brown's  classification,  (which  was  drawn  from  the  le- 
gitimate serious  opera)  allows.  Hence  it  is  became  frequently  im- 
possible to  determine  to  vhich  of  bis  clanea  an  air  should  seem 
tolxloiig. 

I  quite  agree  wiOi  yoO)  Sir,  lo  tbe  o^niim  (bat  onr  own  Open  v 


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1S8 


OM  THE  rOBHATIOK  OF  jlN  OPERA. 


an  ioBoll  to  eommu  teae  u  wdl  u  good  tatte,  and  that  ontil 
entire  peribnnBDce  be  moolded  into  one  coubfanit  muieal  wlnle,  tke 
Eogliili  nation  irill  atill  lemain  uoder  tli«  ditgrace  of  posfening 
liftle  ft  nothing  bejronii  ntelo-draniatic  plays  or  faiocs— ^lininl; 

nothing  like  genuine  opera.  In  Ehorl,  Sir,  I  fully  concur  nitb  all 
those  opinions  upoii  this  head  yon  have  given  at  page  349  of  your 
scconil  volume. 

I  shonld  certainly  vish  to  see  the  atlcrnptmade  to  establish  abetter 
tnstc.  But  considerable  caution  must  be  nwd  in  ttie  experiment. — 
There  arc  difficulties  tliat  embarrass  the  undertaking  wb!^  it  may 
ba  useful  and  not  amusing  to  examine. 

I  doubt  vtiether  the  lirtt  endeavours  would  be  to  raccessfnllj 
addressed  to  absolute  no?cIty  as  to  the  formation  of  a  taste  upon  the 
best  foreign  models,  by  tmnslalion  and  ad^ilation ;  and  I  sball  m- 
commend  t^iis  to  be  tried  upon  the  oomic  or  the  iatermediata  between 
serious  and  comic,  rather  than  upon  the  grand  scale  of  the  aerioiu 
opera.  For  although  itcannotbedonbtedlhatif  a  single  song  is  able 
to  raise  emotions  of  terror  or  of  sorrow,  the  same  power  may  be  prolong- 
ed through  die  whole  protmcted  serirs  of  recitatives  and  airs  whicli 
mahe  up  an  entire  musical  drama, yet  English  notions  of  tragic  effect 
arc  at  present  too  far  removed  from  opera  to  bear  so  sudden  an  inno- 
vation— al  least,  Uic  doubtful  nature  of  llie  issue  would  make  the 
trial  dangerous  at  drst.  Music  is  rather,  in  the  mind  of  play-going 
folk,  associated  wifli  the  lighter  panions  than  the  sublime  alTection*. 
Onr  operas  contain  ooarcely  a  single  song  of  pathos ;  and  until  (he 
]sngDBge  of  music  be  better  understood,  it  is  hardly  to  be  hoped 
(hat  the  operation  of  sounds  would  suspend  yet  keep  alive,  in  the 
hearts  of  common  hearers,  the  sensations  end  sentiments  which  are 
necessary  to  preserve  the  interest  and  secure  the  general  object  and 
efiect  whicli  those  accuttomcd  to  a  continuity  of  musical  feeling  are 
delighted  to  enjoy  during  introductory  or  closing  symphonies,  or 
during  those  that  intervene  between  the  regular  divisions  of  a  song. 
The  low  slate  of  acquirement  connected  witli  tlie  profession  of  the 
stage,  observable  in  our  dramatic  singers,  would  also  put  this  neces- 
sary train  into  great  j«i[iaiily,  forllicv  Hr<:  iitiixjual  to  fill  the  void 
by  any  tiling  approaching  lo  fim'  aciing— irilh  «liich  snch  performen 
as  TnAVEZZANi,  GnAssiNi,  and  Catalani  were  wont  to  nKtatn 
tlie  dignities,  the  spirit,  or  the  distresses  of  their  asuimed  cfaaiacters. 
I  ihoidd  tberefine  iiwllne  to  tUnk  (hat  the  lelttctioB  and  sdapl«tioo 


OW  THE  FORKATIOK  OF  AS  OFEBA. 


159 


ofsime  of  the  fascinating  and  moGt  pakci  of  Ibe  dramas  of  Itsly,  in 
the  middle  «(jte  I  have  allnded  to,  the  effecti  of  whose  music  are 
tried  and  aodoubled,  fTouId  at  the  outset  be  more  likely  (o  super- 
indoee  the  understanding  of  and  the  taste  for  opeia  thai)  aay  tbiog 
<^  onr  own.  Hj  pnponl,  in  pcnnt  <tf  foct,  goes  onljr  to  the  «xteii> 
■ton  of  tbe  plan  Stman  Stobaob  mi  pumiBg,  and  who,  had  hh 
httheea  prolonged,  might  have  nrrhvd  at  last  at  tbeexecotion  oflbe 
cntnpiete  design.  He  sdected — I  propose  to  lake  an  opera  enttre, 
or  at  least  as  nearlj  so  as  the  judicious  curtailments  allowed  in  adap- 
tation might  seem  to  juElif;.  CiuABosA'a  II  Matriinmw  segrtlo  is 
one  ofouuij  instances,  and  perhaps  the  very  beet  that  could  be  chosen, 
for  certainlj  music  was  ner^  so  fad  of  animal  spirits  and  jet  of 
intellectual  delight.  The  story  too,  though  somethmg  altered,  is 
familiar  to  us  in  the  fine  old  comedji  the  Ckmieitine  Marriage' — 
Sparkling,  brilliant,  and  nartmlM,  I  have  never  met  in  the  whole 
range  of  mj  musical  reading  ^wliick  fax  been  something  extended) 
with  any  entire  comporitian  thtt  aaitBiBS  inch  equality,  and  at  so 
Ugh  an  oleratioii.  If  thooi  fbrtha  sake  of  A.urB'<  rnivic,  Ibe  pnbiie 
bate  bona  with  Knh  eeaataDcy  the  npetiHot  of  ^rfowRM^  tbeie 
on  be  UtUe  qoeatiini  at  to  the  pleainre  //  Ualtmom  tegrtto  wonU 
bestow.  I  think  sofflcientlj  wdl  of  the  advancing  taste  of  my  cooi- 
Itymen  to  believe  it  would  be  heard  with  as  much  rapture  at 
any  musioal  drama  that  has  ever  been  performed,  if  not  with  as 
much  exlacy  as  it  was  hailed  by  the  more  fervent  amateurs  of  tbe 
Continent. 

Some  embarrassment  would  probably  be  found  in  the  selection  of 
English  wotda  to  move  with  the  gliding  and  snuMith  rapidity  with 
whidi  the  soft  Italian  syUaUes  slide  over  the  lips ;  for  yoa  bave 
joKly  observed  that  a  great  portion  of  the  delicate  hamou  of  Italian 
comedy  is  derived  from  swift  aitlontation  of  aolei  and  words,  and  a 
very  simple  and  ingonioDa  expedieat  it  u,  though  drawn  probaUy 
from  the  lively  niBDiier  of  expNMioa  wUoh  On  wwm  lempeiament 
of  tiwllaliansexcitestbemtotuein  the  beat  of  dispute  the  energy  of 
expostulation,  in  the  fbrvour  of  description,  or  the  unguarded  expres* 
■ionofpleBEuie,mirtb,oT  amatory  satisfaction.*  But,  Sir,  [  should  not 

*  Far  examplei  of  these  sercral  attributes  of  Italian  elegance  and  art,  I  bt^ 
ia  refer  the  reader  (1)  to  Guoueuii's  duet,  Fedete  la  oedaie;  (3)  to  Ciiu. 
BoiA'a  SejiHoiaeBrpoaeela;  (ajtoRonuH's  AlldeatUqaelmeU^t  W 
to  CiMAxosA's  Sd  aureOii  and  (D)  to  Pdcitta's  Quel  oaAldio  eoBokUo. 


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160 


ON  THE  FOBHATIOH  OF  iX  OPIB*. 


dapair  of  thU  impcduDeot  being  and  Ibe  introdncUm  of 

traeltalian  musical  comedy,  would  exhibit  trails  ormanners,  wbidi  if 
not  absolutelj  new,  would  atiU  I  imagine  be  found  estiemdy  enlei- 
laining,  without  anj  of  tlie  delineation  of  ttiosc  coarser  picturingi 
to  wbiclk  alone  our  comic  songs  art:  iriilcblcd  fur  Iha'n  eHi-cls.  Ours 
like  tbeirs  arc  taken  from  "  tliu  niaruiers  living  as  Ihey  rise."  Bui 
tbe;  have  better  taste  in  sdcclion  of  subjecU  limn  ivc  linvc.  Out 
comic  Eongsare  allvulgar.  If  au  actor  presents  us  with  any  thing  of 
thia  sort,  the  language  and  manners  of  the  lowest  chuses  are  the 
objects  of  description.  O'Keefe's  and  Dibrin's  yme  almoat  all 
of  this  fashion,  and  oar  low  comedians  prolong  the  nine  or  similar 
themeL  The  Italians,  on  the  contrary,  bring  into  pby  the  baUto, 
mannen,  and  poMioni  of  tlie  higb  ntber  than  the  low  olaMn  of 
hiunooriits,  and  aSect  a»  chiefly  by  the  vivacity  of  Ifae  dialogue 
the  rapidity  of  the  utterance,  and  the  brilliancy  of  the  musical  pas- 
■Bgei.  There  is  no  stopping  to  listen  to  a  story  of  five  minutes, 
interpolated  by  the  mime,  and  which  represents  the  complaints  of 
an  overgrown  grazier  to  a  village  apothecary  of  a  long  bUi  swollen 
by  the  illness  of  his  wife,'  or  details  the  clumsy  practical  jokes  of  a 
iitaggoner>+  Our  comic  songs  like  our  comic  operas  are  very  coarse 
attempts  to  blend  a  jargon  of  vulgarities  with  music,  wholly  un- 
fitted to  such  a  purpose.  The  Italians  give  us  the  example  of  a 
far  more  graceful  species  of  humour,  yet  conveying  a  not  less  just 
imitation  of  manners,  and  io  this  respect  it  seems  to  me,  «c  should 
owe  much  to  the  propagation  of  the  knowledge  of  the  Italian  expe- 
dieatiforawakeningagay  traisof  ideal.  Tbefiut  is, they  sdect 
with  better  taste  than  we  do. 

•  Dibdim'b  CauDtryQnb. 

-f-  His  song  ot  (hat  name,  from  wUch  the  fsUeiring  eitiact  will  serre  to 

shew  its  general  tone  : — 

Your  natty  sparks  and  flashy  <]amea, 

HoH-  I  do  loics  to  queer ; 


And  iiatlurs  aiid  gigs, 

And  plays  a  hundred  comical  games 

With  all  as  1  cornea  near." 
With  such  slang  have  the  English  pi^lic  been  amused.  Ma.  Mlimwi  Id 
Ut  song.  The  hunmuri  i^a  Plag-haut,  recites  bU  the  incidents  oT  a  crowd  at 
the  theatre,  dawn  to  the  jokes  of  drunken  hackney  coachmen  and  the  boane 
ribaldry  of  the  link  boys.  They  certainly  ^ow  his  powers  ofodndcry  to  great 
adfantage,  but  audi  descriptions  surdy  form  no  le^nmate  sntgects  ior  inaiiG  la 
any  shape. 


ON  THE  TORHJiTION  OF  IN  UVSRl. 


161 


'  If  then.  Sit,  ire  could  once  originate  s  clear  bqiI  diitiact  percep- 
tioB  of  tbs  superior  pleasureito  be  derived  from  the  simple  design  of 
prndncil^  all  Ihe  gratilicatian  that  can  be  produced  by  the  union  of 
•entloMiit  with  sonnd,  if  lu  joa  have  said,  the  prmciple  nas  once  ie> 
ceired Ihkt  KD  opcTS  •boold  lie  "a  continnod  iuocetsion  of  masicBl, 
efifeeta"  lie^litaiing  the  pleasure  derired  from  tlw  comic  inoideoti 
and  play  of  word*,  It  would  probably  be  ea^  to  ascend  through  tbe  . 
various  dej^ees,  till  we  at  length  arrived  at  the  perfection  of  the 
musical  drama,  in  Ihc  represenlation  of  the  most  inblime  affections 
in  the  regular  grand  serious  opera.  Cihakora,  Paisiello,  Pig- 
ciKi,  Gc;oL.iBE.Mi,  MoiAET,  atld  EossiNi,  all  present  ub  with  the 
nmaiis.  Somi:  p;irl  of  ;vll  lliesu  grtiit  composers'  works  have  been 
tendered  to  us  in  an  Englisli  dramatic  dress,  by  SionACE  and  by 
Bishop  especially.  It  only  remains  (o  ovircomt.-  the  absurdity  of  tbe 
connecting  dialogue  and  to  reconcile  us  lu  tlie  principle  wbioh  yon 
b»n  laid  down,  Bod  I  hnre  just  quoted.  In  short,  all  that  la  required 
it,  to  train  the  mind  and  the  eat  to  the  enjoyment  of  the  RecitaHTC. 

The  first  step  to  this  desirable  pnrpose  I  consider  to  be  the  encon- 
ngeittcnt  of  a  public  dlicutsion  of  tbe  qoeatlon,  and  tbe  preparation 
of  tbe  general  mind  for  the  chai^,  by  the  assistance  of  the  periodi- 
cal literatDre  tbe  country.  The  English,  as  a  nation,  have  no 
notion  of  the  genuine  Etructure  of  an  opera;  and,  I  fear,  John  Bull 
ii  still  too  contemplative  (although  he  has  rid  himself  of  mach  of  his 
ilUhabit  of  reasoning  upon  ^Tbat  ought  to  please  him,  before  he  conde- 
scends (o  he  pleased)  (i)  ruler  nilhout  some  previous  argument  into 
the  full  enjoymcul  of  un  unmixed  inusicnl  drama.  For  though  he 
can  allow  a  character  to  sing  n  song  every  now  and  then,  no  matter 
in  what  situation,  he  will  yet  perhaps  think  it  abiolntely  oat  ot  na- 
ture, that  all  the  business  ot  hia  should  be  coadaoted  In  mnstoal 
phrases.  He  mnst  therefore  be  reconciled  to  the  ideB  of  the  ccmti- 
nnoos  cfect  being  more  consistent  wiUi  reason  than  the  broken  and 
interspersed  jargon  of  speech  and  song.  He  most  Indnce  hinisdf 
to  believe  (for  a  couple  of  boors)  that  be  has  been  transported  to  a 
newly-discovered  land,  a  region  called  Meloprcia,acountry  where  the 
inhabitants  are  so  happily  constituti^d  iis  to  cx])rcss  all  their  wants, 
utter  all  their  sentiments,  and  bre>tlh(;  tiicir  sol'losL  wishes  in  mea- 
sured and  sweet  melodies.  He  uill  in  tbe  end  profit  by  his  delusion ; 
though  suctr  a  result  may  seem  very  uncommon  In  the  liisU>I7  of  his 
foreign  connections  and  pcrauosions. 

VOL.  III.  HO.  X.  T 


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162 


OK  THE  rOBMATIOH  CW  AH  OPERA. 


Cue  Bhoold  also  be  taken  to  apprite  himof  the  ^neml  simplicity 
(both  ns  to  incidents,  sentimonts,  and  dialogne)  vliich  the  Italiaiu 
court  ill  tbe  sducture  of  their  muiLcal  drama.  It  u  for  this  reason) 
scarcelj  less  than  for  the  univenwl  cdebrily  aad  real  captivation  of 
CiMAnosA's  rousic,  that  I  have  ventured  to  fix  upon  Jl  Matrimonio 
Segrelo.  I  have  a  lurking  hope  and  expectation,  tliat  tbe  predilec- 
tion of  Mr  Biii.i>,  in  behalf  of  one  of  his  old  favourites,  may  ope- 
rate beneficially-  And  ftUhough  I  can  bat  be  a\tate  the  opera  nill 
Euficr  by  tbe  absence  o(  Lord  Oglebjf  anil  Mrs.  I/eidelburgh,  yet  I 
cannot  but  think  the  chanic (eristic  and  novel  elTccIs  of  the  masic, 
will  atone  for  the  uuvoidable  falling  off  in  regard  to  these  delightfnl 
penonages. 

IfSur,  the  abiatd  pngndico  in  iaroaT  of  dnouUic  speaking  and 
singing  coold  be  overcome,  what  a  mine  of  novelty  would  it  add  to 
our  present  scanty  slock  of  musical  properly  I  We  should  be  ableal 
once  to  discover,  invade,  and  conquer  the  El  Dorado  of  the  Italian 
dramatic  treasure.  Nothing  1  ara  convinced  would  so  speedilycon- 
ducc  to  onr  becoming  a  really  miisicil  people.  Indeed  we  have 
already  fell  the  effects  partially,  by  (lie  grufllugs  of  poor  Stephen 
Storaoe.  Since  the  days  of  AitsE,  ivlio  also  borrowed  Irom 
Italy  though  not  so  directly  or  so  openly,  scarcely  a  single  opera 
Uvea  except  those  of  Storage,  which  arc  essentially  com pila (ions. 
I  would  be  bound  to  furnish  a  store  of  such  novelty  and  beauty  as 
the  English  theatres  have  never  enjoyed,  for  years  to  come,  if  it  were 
thought  desirable  (which  however  it  never  can  be)  to  exclude  our  aa* 
tive  talent,  and  which  I  rather  wish  to  excite  than  exJingniah  or 
even  eclipse. 

I  have  thos)  Sir,  renewed  the  discussion  of  this  question  bccauee 
there  appears  (o  be  a  fairer  opening  than  ever  for  tbe  csperimcnl. 
Drary-lane  theatre  has  now  perhiips  a  finer  opernlic  corps  (ban  an 
English  stage  ever  before  possessed;  half  tbe  nights  of  perform- 
ance Lave  been  devoted  to  music,  I  therefuru  llirow  out  these  sug- 
gestions in  the  ceilainly  that  through  your  Mngnzinc  tbcy  will  reach 
(be  eyes  of  pcr.ions  most  interested  in  music,  and  in  the  hope  that 
lliry  may  set  in  nclion  some  of  those  springs  that  move  the  pablio 
ninusetnenls.  To  give  to  the  English  nation  a  regular  moaicat 
drama  is  an  elToit  worthy  (he  refinement  of  the  present  age, audi* a 
proposal  1  may  safely  assert,  not  mare  supported  bj  good  taste 
than  by  COMUON  SSNSE. 


ON  THE  PHILOSOPHY  OF  MUSICAL  COMPOSITION. 


TO  THE  EDITOR. 

Sib; 

;A.*  yio  proceed  to  examine  tbe  natuic  of  the  inlemli  eiDpIo,r(!d 
bf  composers  in  tbe  ezpretgioD  of  enblirae  or  inloiKe  emotioiUf  tbo 
essealial  qoalitiei  of  paiiicalar  keys,  or  ralher  the  nature  and  con- 
st rnction  of  Ifac  intcrvaU  of  the  scales  fonncd  upon  certain  lonicB, 
appear  to  bare  B  claim  to  our  altealiuti,  because  Ilicy  cxIuikI  ii  priori, 
as  it  were,  tbe  priociptcs  1  liave  endeavoured  lo  illuslralo  in  niy  last 
essay.*  Fur  if  there  be  tcnipercd  intervals  in  certain  keys,  as  there 
undoublLtlly  arc  for  lixeil  inblruincnl^,  ilic  bearings  of  that  tempe- 
rament will  bestow  at  the  uutsct  a  IciiiJi'iicy  lo  increase  or  diminish 
distances,  and  consequently  lo  alTect  in  a  niilural  manner  the  theory 
I  dm  cndeavoiuiDg  to  iUurtriUe. 

Tbe  calculatioDB  of  malbeiUBtiei&Di  affix  to  intervals  exact  ratios 
by  which  tbe  Inie  Diatonic  scale  is  or  ongbt  to  be  nsulnled. 
But  Ibcse  can  be  said  to  have  no  precise  operation  in  practice. — 
Considering,  tbcrofure,  lliat  llie  ideal  uniformity  of  lite  scale  in  dif- 
ferent keys  is  in  fact  abaudoneJ,  I  propose  to  say  a  few  words  upon 
Ihc  general  proportions  and  effects  to  be  gatliercJ  from  tlic  use  and 
.ippIicHtion  whicb  great  composers  have  made  of  tbe  various  keys, 
assigning  sucb  reosonn  ai  may  appear  to  arise  from  the  perfection  ur 
iiiilicrfeclion,  as  well  as  from  the  augraenlation  or  diminution  of  tbe 
intervals.  J  look  upon  it  lo  be  true,  in  the  main,  that  composers 
have  been  inlluciiced  iii  tbeir  cboice  of  keys  (where  Ihey  have  made 
a  choice  on  Ibc  grounds  I  design  lo  speak  of)  by  the  known  rela- 
tions of  Axed  iastroroenlSi  viz.  the  organ  or  piano  forte,  and  that 
they  liave  in  pobt  of  fact  lost  sight  of  tbe  approximation  to  ideal 
perfection  the  violin  is  capable  of  stiaining,  vlien  they  have  sought 
la  extnct  from  the  key  selected,  any  pectdiar  adaptation  to  senti- 

*  See  ydI.'^  page  3DS. 


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164       ON  THE  FUILOEDPHT  OF  MVSICAI.  COHPOBITION . 


raenl.  Rahgad  sbjb  that  we  receive  clifibtent  impreuioDs,  accor- 
ding to  the  pitch  of  intervals.  Foi  exoniplc,  the  major  lliiril,  which 
naturallj  excites  UH  to  joy,  impresses  us  wilh  feelings  approaching 
to  fury  when  it  is  too  sharp;  and  the  minor  third,  whicii  carries 
tenderness  and  softness,  saddens  us  wlien  it  is  too  flat.  Able  ina- 
siciaiis  (continnes  the  same  author)  know  how  to  profit  by  tbeae 
different  c/rccts  of  inlcrrals. 

It  appears  to  me  that  until  we  arrive  at  those  keys  which  rantain 
intervals  considerablj'  tempered)  it  is  not  in  trntb  my  conseqDHiliai, 
wIiLch  a  composer  chooaes.  Tbe  AiBemioe  for  instance  between 
G  and  G,  imports  the  oomposer  very  Utile  as  to  effect,  and  eitb« 
will  probably  be  found  to  be  preferred  principally  as  it  regards  (he 
compass  of  the  voice  for  which  the  song  may  be  written.  The  tame 
may  be  said  of  C  and  F.  This  rule  liowever  will  scarcely  hold  any 
further,  and  certainly  cannot  extend  beyond  the  keys  which  carry 
two  data  or  sfaarps  at  the  signature,  bccansc  tlic  nearest  modulation 
viU  coodnct  tbe  singer  into  a  key,  tlie  temperament*  of  which  can- 

*  Temperameni. — Tbii  word,  in  an  enlarged  sense,  denotes  a  small  luid 
almost  imperceptilile  delation  from  the  original  parity  ol  intcrTala,  rcndereft 
necessary  by  tlie  difitont  relallons  In  wUc£  the  tones  are  used  in  meloily  and 
hanaimj.  In  a  more  restncted  taose,  it  la  an  artaaged  system  of  sounds,  in 
wbicb  some  tones  are  deprived  of  some  ottbelr  original  parity,  to  bring  all  the 
tones  leed  In  tbe  system  into  such  aeeoneclioa  tbateadi  may  farm  tenkeable 
Intenali  with  any  others,  and  that  each  may,  as  fandantoilil  tone  of  ill  own 
miyor  ch- minor  mode,  find  all  the  tana  necoauytoits  mode,  anumg  dierert 
of  tiie  intemls  of  Ibc  scale. 

At  the  aataial  generation  of  tones,  when  each  interval  appears  in  its  greatest 
parity,  those  iiccessiirj'  lo  i  major  or  minor  mode  develop  theniielves  iu  the 
following  proportifms  to  flu'ir  fundaments :— - 

The  odave  in  theproportinn      9:1;    Major  firennd       ...     9:  H; 

Fifth  3:5;    MaJorSiith   ....  5:9; 

Foarth  -  -  -  -  -4:3;  Minor  Sixth  -  -  -  -  8:5; 
Major  Third-  -  -  -  5:4;  Major  Seventh  -  -  -  15:8; 
Minor  Third  ...  S:  5;  M»jor  Semitone  .  -  -  IB:  16j 
consequently  the  degrees  of  the  major  scale  of  C  natural  for  instance,  tuwe  the 
foUowiug  perfectly  pure  proportions  (o  their  fundamental  tone : — 
C,    D,    E,    F,    G,    A,    B,  C. 

The  timeB  In  this  scaif  have  all  iht'ir  pure  and  oridiial  proportions  among 
themseivea, except  the  minor  third,  D.  F,  which,  instead  ofhavlng  the  pnqioctioii 
0:  S,  oocnra  in  tbe  propotian  33:27;  and  the  fifth  D.  A,  which,  Instead  of 
3;  3,  has  Aepiopmoa  49;  S7.  The  comparison  of  the  pniporttoDs  of  the 
minor  tilbdmid  pure  fifth  with  the  pore  proportions  oftheie  failnTals,  dKw* 
that  both  are  hi  tun  •eriei  too  nnall  by  Uic  svnlnue  comma. 

WhanflMMtorelniay  maleJy  of  the  m^or  mode  C^tbe  tana  A.  as  poie 
slitbef  Cfiiasedhithepraporfiod  5:  9,aDdlbebas*idaystotbls  Athe  tone 
D,  A  is  too  Sat,  *a  fifth  lo  I^bjthe  aynlomc  coonu;  sod  as  operieaot 


ON  THG  FEOOsopor  ow  MUSICAL  coyposmoR.  165 


&ot  fail  lo  be  fett.  It  fi  tbemfore  not  on\j  viUt  (datioo  to  (he 
primary  kc;  iUeir trSich  theanUiof  sdopto,  Out  he  needi  to  regulate 
bia  choice,  but  ihe  sentiraeat  <d  the  wonli  he  is  aboat  to  wt  will 
necessarily  delermine  wbeUier  the  maiic  ii  likely  to  require  or  to  be 
BilTanlageii  bj  frequent  or  remote  changes  of  key,  a*  by  Ibc  nature 
of  the  emotions  lliose  changes  will  be  directed.  Il  may  also  be 
obserycd  that  the  keys  wilh  sharps  are  ccrlaiiily  more  stimulant  than 
those  with  flats— and  this  property  Iibs  not  only  relation  lo  the  infe- 
vals,  but  to  the  ^ncral  pitch,  for  if  we  transpose  a  song  into  a  higher 
key,  (except  so  far  as  llie  tempered  inlcrrals  may  coutrnvcne  tlie 
general  Isw)  we  render  it  more  brilliant,  and,  on  the  contrary,  if  we 
lower  a  oomposUion,  wc  shall  find  il  heavier.  The  key  of  F  then,  in 
relation  to  G,ii  likely  to  produce  less  excitation,  and  the  key  of  B, 
aa  idated  to  tbat.of  D,  a  still  lower  degree,  simply  on  the  ground  td 
deptenion. 

Tbe  Kore  of  Jfte  Metnah  preaents  awork  that  hai  uniRnally  been 
aeluowledged  to  teocb  the  height  of  tbe  aublime  affections.  We 

may  therefore  safely  apply  to  that  source.  Hamdel  has  chosen  for 
the  opening  recitative  the  key  of  E  with  four  sharps.  Brilliancy 
has  been  esteemed  the  pecnlioi  characteristic  of  this  scale,  which 
arises  from  tlie  tpnilcncy  of  all  the  intervals  to  elevation  rather 
than  dcprL'isioii.  Tfie  tliird  and  the  seventh  arc  in  tuning  made 
pctfccl,  or  sharper  lhau  [(crfect.  Our  groat  master  then,  to  ex- 
press not  only  the  sedate  satisfaction  which  is  implied  in  the 
words  Comfort  t/e,  (and  which  by  the  way  is  done  first  by  the 
Hoooth  descent  of  close  intcrrals,  and  aflermiTds  by  continuity, 
thereby  signifying  the  soft  sinking  of  the  soul  into  tranquillity  and 
ill  Bubuqnent  quietude,)  but  tbe  first  call  to  tbe  bolj  fervoni  and 
jeligiou*  jay,  which  are  tbe  unnwdiate  effbcta,  baa  cbown  a  key 
wbicb  carriei  brilliancy  beyond  that  which  altendt  the  one  nearest 
approaching  to  troth,  tlic  key  of  C.    The  immedit^  introdnellon  of 

ttachts  (hMltie  car  \i  olTi-mW  utthe  itendcncy  or  excess  of  a  whole  nimma  in 
a  consonance  so  |iiirr  as  tho  fifth,  It  is  obiionEi  Ihiit  some  expedient  niiiwt  be 
resorted  to,  and  a.  tcmpcnriciit  niujt  Ijke  jibco. 

This  single  example  ileniun^tralci  the  nt'Ctssity  of  a  tempcrwcnt  of  tones, 
cicn  in  a  lerj  simple  and  iittiiteil  use  of  lli,mi.  Bui  this  necessity  becomes  slUI 
more  absolute  when  all  the  (ones  used  in  music  are  (o  be  combined  -iiilo  a 
system  in  which  each  tone  is  not  only  to  fbnn  serricmble  mtenali  vitliAll  tiio 
others,  bat  also  to  &dA  as  fundanenlal  tone  of  a  major  or  mioor  DiMk,BU  tho 
tones  necessary  to  ita  lealehi  a  proportkm  satisfactory  to  the  ear. — German 
ISaaciaDmMars. 


I6fi      ON  THE  piuLOKOPnir  of  musical  composition. 


an  accidental  A  sharp,  by  whicb  the  key  ia  cliangcd  to  B  with  fl*e 
sfaBTpi,  pushes  this  tcndencjr  still  further,  and  towardi  the  latter 
pari  of  Ihe  recitative  a  B  ibarp  extendi  the  tame  notion,  which  ii 
progrcsrive  excitation.  On  the  contrarj',  tlie  taking  off  the  D  sharp 
upon  llie  passnge  "  Speak  jye  comforiabli/  to  Jenisnlem,"  {Ijesidea  the 
pcculinr  quality  oftlic  close  interval  ilscIO  restores  the  tranquillizing 
effect  of  o  key  less  sliraulnnt. 

"Jlmowthal  mj/Rcdccmer  Ikcih"  an  nir  which  combines  the  gramlest 
Tiew  of  eternity  with  the  "sure  and  ceilaiii  liope  of  a  joyful  rcsiir- 
TCction,"  thus  connecling  Ihc  most  sublime  afTeelioiis  wi(!i  conliilcnt 
triumphaRt  emotioriK,  is  nlso  wrilleri  in  (lie  same  key,  and  lis  modu- 
lation it  restricted  within  cxaclly  tlic  same  confines.  The  next 
sharp  is  added  to  elevate  as  in  the  eminently  fine  iMssage,  "and 
thai  he  shall  ttand  at  ihe  l<^er  day  upon  the  earth,"  and  when  a  more 
solemn  expression  is  to  be  made,  the  sharp  sc?entli  is  taken  off  as  in 
in  my  ftA  ihalt  I  tee  God." 

We  find  the  same  notion  snpporfed  in  another  place  by  the  beau- 
tiful air,"//eniff7ierc«o,"  in  iSojarniej,botnow  belter knownaa  "Lard, 
remember  Dadd"  This  begins  in  B  with  iive  sharps,  and  the  sen- 
timent is  very  ncaily  allied  to  that  of"  Comfort  ye  my  people." 

The  series  of  recilalivcs,  beginning  "  There  were  shepherds,"  ex- 
liibils  a  train  ol  results  which  I  think  illuslralcs  our  enquiry.  For 
althougb  i(  must  be  observed  that  the  compass  of  the  -voice  would 
naturally  impose  restraints  upon  the  composer,  yet  a  tone  or  a  half 
tone  higher  or  lower  nonUI  make  no  such  allcralion  as  would  distress 
the  linger.  When,  Iberefore,  IIa.vdci,  selects  the  key  of  C  as 
the  foundation,  he  perhaps  contemplated  the  modulation;  or  if 
he  did  not,  aliter  ho  bad  made  his  Recitatives,  he  vonld  proba- 
bly be  directed  in  his  final  decision  as  to  (be  keys,  by  their  adapta- 
tion to  the  tenliment.  Thus  then  we  find  the  mere  narrative  "  Here 
tsere  Shepherds  abiding  in  the ftld  aatching  crcer  their foch  by  night," 
in  the  open  l,ty  uf  C.  But  in  (he  next,  "Andio!  the  Angel  of  the 
Lord  came  upmi  llicm"  iiliich  is  a  circumstance  of  terror,  ibc  key  is 
cliangcd  to  F,  and  to  signify  depression  more  strongly,  an  Hal  ni(h 
Ihc  chord  of  J,  in  other  wonls,  the  disconl  of  (he  seventh  is  used  liil 
lie  words,  "  Tb£  gloiy  of  ike  Lord  shone  round  about  l/icm,''  ii  liiic 
they  add  to  thesoblimity,  diminish  in  a  dcgrcelhc  terrific  sensntion. 
This  superior  diead  is  succeeded  by  the  consequence  "  Mndtheyteere 
toreafndd^  when  the  rcciutive  closes  (with  the  addition  of  another. 


ON  THE  PHILOSOPHY  OF  MUSICiL  COMPOSITIOK.  167 


flat)  in  B  flnt.  Tlic  (ransitioti  consummnfi'3  the  idea  nc  entertain. 
Tbewords  of  the  next  strain  arc — "Aadthe  Angel  vnd  unto  them, 
fear  not;  for  behold,  I  bring  r/ou  gladlidingt  of  great  jay,  which  thall 
be  to  all  people;  for  vnlo  you  is  bom  this  day  in  the  city  of  Dadd  a 
.  Son,  uldch  it  Casin  tbk  Lord  I" 

TbitpaMageof  glory  b^ini  with  the  chord  oFA  with  ■b&rpi,Bnd 
accidenlati  are  introdaced  at  cm;  following  bar,  till  tbe  whole  cloKs 
in  F  ibarp  key.  Tills  succession  of  increasing  inlerralais  hoirerer 
cleailj  applicable  axAj  to  circumstances  of  the  grcalcst  excilation, 
since  tbe  concluding  recitative  and  tbe  fuUotring  cborus  ^fhich  ex- 
press IhecxuKalion  of"  The  multitude  of  the  Heaienly  Hoit,  praising 
Ood  tmd  saying,  Gzoay  TO  Goo,"  descends  to  the  more  agreeable 
lliough  still  bright  key  of  D. 

Th»e  examples,  1  apprehend,  will  be  eMeemed  safficient  to  sliew 
the  legitiraate  applicatioa  ofthe  brilHaat  and  beaatiful  scale  of  £  n  ith 
■barpi,  togdbec  with  its  extension  and  pertiapB  the  limits  of  sharp 
kejs,  and  as  I  am  not  amare  of  any  classical  Instance  in  vocal  mosio 
of  raodulatton  being  extended  beyond  the  bounds  to  irbicb  theso 
longs  and  recilatives  advance  by 'progressive  sharps,  it  may  be 
almost  nilh  certainty  pronounced,  tbat  the  temperament  of  instru- 
ntents  and  the  conforming  power  of  tbe  ear  and  the  voice  will 
scarcely  allow  a  composer  to  go  boyood  the  key  of  F  sharp,  carry- 
ing hix  sharps  at  the  signature,  and  thii  only  when  extreme  excita- 
tion is  intended. 

Having  taken  this  view  of  the  use  of  the  keys  having  sharps  atUis 
signature,  I  sbntl  turn  to  tlie  application  of  those  nfaich  on  the  con- 
trary are  distinguislied  by  Hats,  following  the  same  giiida 

It  appearsnt  first  inspcdioa'dilBcnlt  to  decide  why  HANDBi;BliDn1d 
have  chosen  tbe  key  of  B  £>tfbr  hiiidi**  .Afj^grait^,"  which  in 
its  incipient  and  closing  passages  seems  to  be  pnroly  a  song  of  ex- 
altation. But  here,  Sir,  I  must  recur  (o  the  remark  I  have  before 
made  at  page  4(M  of  your  second  volume,  "  that  we  must  take  the 
expression  of  the  nhulc  in  order  to  understand  that  the  design  of  llic 
composer  is  to  avail  himself  of  (be  impression  by  such  nlinlu  rallii^r 
than  by  parts."  If  then  we  consider  the  entire  nature  of  llic  senti- 
ment of  this  song,  no  shall  find  it  to  be  tbe  joy  of  roligious 
peace,  which  is  rather  marked  by  a  sublime  consciousness  than  a 
strong  and  tumultuous  exclamation,  altboagli  the  word  "  thotU" 
wonld  seem  to  militate  against  my  interpcelalion.  This  song  is' 


166       OH  TBR  PSILOSOPHr  OF  HiniCAL  COMPOSITION. 


an  accidental  A  iharp,  which  the  kejr  ii  cliangcd  to  B  with  Btc 
sbarpt,  puabei  this  tendency  still  farther,  and  towardt  the  latter 
part  of  Ibe  recitative  a  B  Aarp  extendi  the  name  noticni  which  ii 
progrcutTe  excitation.    On  the  conlrarj,  the  taking  off  the  D  sharp 

upon  the  paisnge  "  Spent  comforiably  to  Jerusalem,"  (besides  the 
peculiar  qunlitj  of  the  close  interval  itself)  re^lures  the  tranquillizing 
effect  of  H  key  lesa  sliraulnnt. 

"JknoTD  thai  jni/lffdcemer  Uvflh,"  an  air  which  combines  tfjegranilest 
liew  of  dor[iil  v  uilii  tlie  "  sure  nn(l  certain  liiiiii;  of  a  joj-lnl  rcsiir- 

Iriiiniphant  emoliuns,  is  nlao  wriKcn  In  tire  same  key,  nnd  lis  modu- 
lation ii  restricted  within  esacltj  the  Bamc  confines.  The  next 
sharp  Is  added  to  elevate  as  in  the  eminenlfjr  fine  passage,  "ami 
that  he  skull  itand  at  the  bUer  iay  upon  the  earth,"  and  when  a  more 
solemn  expicsiion  is  la  be  made,  the  sharp  seventh  is  taken  off  as  in 
"  je(  in  mjf  J?es&  shall  I  see  Qod." 

Wc  find  the  same  notion  supported  in  another  place  by  the  beao- 
tifulair,"ff(7iifi7jere»M,"  in  Sojarmci,  but  now  belter  known  os  "Lord, 
remember  Daad."  This  Ijcgina  in  B  wilh  /ive  Ebarps,  and  tlie  sen- 
timent is  verj  neail^y  allied  to  that  of"  Comfort  ye  my  people." 

The  seties  of  recilalivcfi,  beginning  "  There  TBere  shepherds,"  ei- 
liibils  B  Imiri  of  re&ulls  wbicli  I  think  illustrates  our  enquiry.  For 
tilthuugli  i(  must  be  observed  Hint  the  compass  of  the  voice  would 
nalurall}'  imjwsc  restraints  upon  the  compoBer,  yet  a  tone  or  a  half 
tone  higher  or  lower  would  make  no  such  alteration  as  would  disUess 
the  singer.  When,  Iherefora,  Haksel  selects  the  Iwy  of  C  as 
the  foundation,  he  perhaps  contemplated  the  modulation ;  or  if 
he  did  not,  after  lie  had  made  his  Recitatives,  be  would  proba- 
bly be  directed  in  his  final  decision  as  to  the  kejs,  hy  their  adapla* 
tion  lo  the  Bcnlimenl.  Thus  then  we  find  the  mere  narrative  "  There 
mere  Shepherds  abiding  inlkejieldaatehing  over  Iheir fatki  by  night," 
in  the  open  key  of  G.  Bntintbe  next,  "Andlo!  the  Anget  of  the 
Ijjrd  came  upon  them"  which  is  a  circumstance  of  terror,  (ho  key  is 
changed  to  F,  and  tosignify  depression  more  strongly,  an  £  flat  with 
tbe  chord  of  %,  \a  other  words,  the  discord  of  the  seventh  is  used  till 
the  words,  "  The  glory  nf  the  Lord  shone  round  about  Ihetn,"  wliilc 
they  add  to  tbcsabtimify,  diminish  in  a  degrcellie  terrific  sensation. 
This  superior  dread  is  succeeded  by  the  consequence  "  And  they  mere 
tore  afimd,"  when  the  recitative  closes  (with  the  addition  of  another  • 


ON  THE  PHILOSOPHY  OF  MUSICIL  COHPOBITION.  167 


flat)  in  B  flat.  The  ttanailion  consummnti's  the  idea  wc  entertain. 
Thewords  of  the  next  strain  arc — "Andthe  Angel  inid  un/o  thtm, 
fear  noli  for  behold,  I  bring  ^ou  glad  tidings  of  great  joi/,  xvhich  akall 
be  lo  all  people,-  for  unto  you  is  born  l/iis  day  in  Ike  city  of  Daad  a 
Son,  uhkh  ii  CaaiST  tbm  Lord  1" 

Tbta  pottage  of  glory  bfgini  with  the  chord  of  A  nilh  sharps,  and 
Bccidentalt  are  introduced  at  eretj  following  bar,  till  the  whole  closes 
in  F  sharp  key.  This  succession  of  increasing  inierFala  is  however 
clear!}' applicable  only  to  circumstances  of  the  greatest  excitation, 
since  the  concluding  recitative  and  the  folloning  chorus  which  ex- 
press theexullalion  of"  The  multitude  of  l/ie  IleoJxnly  Host,  praising 
God  aai  taying,  Qlohy  TO  God"  descends  to  the  more  agreeable 
UiDugh  still  bright  hey  of  U. 

These  esainplet,  1  apprehend,  will  be  esteemed  sufficient  to  shew 
the  legitimate  apf^catioa  of  the  brilliant  and  beaatifiil  scale  of  £  with 
iliaipt>  togotber  with  its  extension  and  perhaps  the  Umtts  of  ibarp 
kejt,  and  as  t  am  not  aware  of  enj  classical  instance  in  Tocal  music 
of  modulation  being  extended  beyond  the  bnumls  to  which  theso 
lODgs  and  recitalires  advance  by  progressive  sliarps,  it  may  be 
almost  with  certainty  pronounced,  that  tlic  teinpcrameiiL  of  iiistru- 
nients  and  tlie  conforming  power  of  the  car  and  the  Toice  will 
Bcnrccly  allow  a  composer  to  go  bqyond  the  key  of  F  sharp,  txny 
ing  six  sharps  at  the  sigmUUFG,  and  this  onlf  when  extreme  excita- 
tion  is  intended. 

Huving  taken  this  view  of  the  use  of  the  keys  having  sharps  at  the 
signature,  I  sbnit  luf  u  to  the  npplicalion  of  those  nhich  on  the  con- 
trary are  distinguislied  by  flats,  fulloning  the  same  giiidb 

It  appears  at  first  inspcotiondillicutt  to  decide  why  HAVDRbshould 
have  chosen  the  key  of  B  flat  for  bb  air  '*  JZ^jblce  greatfy"  which  in 
its  incipient  and  doting  passages  seems  to  bo  pnrely  a  song  of  ex* 
nltation.  But  here.  Sir,  I  must  recur  to  the  rcmurk  I  liavc  before 
made  at  page  401  of  your  second  volume,  "  that  we  must  take  the 
expression  of  the  whole  in  order  lo  understand  that  the  design  of  the 
composer  is  to  avail  himself  of  the  ini]iri;-,Niiin  hy  sucli  whnli;  rather 
than  by  parts."  If  then  wc  consider  Ilii;  ciilin;  nature  of  Uic  sciili- 
mont  of  this  song,  wo  shall  flnil  it  to  be  Uie  joy  of  rdigious 
peace,  which  is  rather  marked  by  a  sublime  consciousness  than  a 
strong  and  tnmultaoos  exclamation,  allhongh  the  word  "  siotU" 
woold  seem  lo  militate  against  my  interptelalioD.   This  song  is 


168     OH  THE  patLOBonnr  of  moucu  coHnsmoR. 


iudeed'of  a  completely  mixed  cbaracter,  ai>d  wc  acconluigly  find  Ute 
maduiatioii  extending  to  (be  key  of  A  wUb  three  shupi ;  and  irbtt 
iH  marc  singulfii  in  one  of  tlie  diTislong  upon  llie  word  "  Rgriet^ 
the  introduction  of  nn  A  flat  conveys  lu  for  a  moment  into  E  flat.  1 
gIiuuIiI  llicrcforc  be  tli^puscd  to  instance  this  song  as  a  proof  of  llie 
cunsummati!  art  with  ivhlcti  Handel  knew  how  to  commingle  the 
fiacat  i[ii:fnliv<;s  to  emotiau,  and  thus  to  dash  the  cup  of  jay  with 
that  delicious  anil  momentary  infusioo  of  Badness,  that  renden  both 
more  poignant,  aud  which  in  truth  are  the  ingredienla  Iho  mind 
may  be  said  to  taste,  nheu  mortal  thoughts  b^b  tofitdcftway  befon 
the  contemplation  of  eteinily. 

Handsii  teems  gradually  to  have  deicendrd  into  the  deplbiof 
(octowfrom  this  air  in  hit  trantilion  through— "  *AaU  feeiK$ 
fixk"  falso  in  B  flat)  and  the  inimitable  charm  "  Behold  the 
Lamb  of  God,"*  to  the  song,  "  He  was  desjnsed^'  when  adopting 
the  kcyof  E  withthreo  flats,  he  nandcrs  at  once  info  tlio  daikrat  re- 
gions of  pathos.  The  lugubrious  effect  of  the  key  of  A  Hat  is  well 
known  lu  result  from  the  extreme  imperfection  of  the  intervals  com- 
j)u>iiiu:  tiic-  ctmril  of  the  tonic ;  and  the  further  we  go  the  more  pow- 
orfiiU  v  llii;  r:ir  I'cds  the  accession  of  additional  flats.  The  extreme 
closeness  i)f  (lie  interval  G  flat,  inlrodnced  upon  the  word  " grief,'*  is 
distressingly  finp,  though  prepared  by  the  opening  symphony.  Here 
however  ihe  limit  seems  to  be  placed  somewhat  earlier  in  the  succes- 
sion of  Hals  than  of  sharps,  as  D  flat  with  five  dais  at  tbe  signature, 
appears  to  be  the  extremest  boundaty  to  iihicli  Handbi.  has  Ten* 
tared  to  go. 

Yon  will  perceive,  Sir,  (hst  the  entire  aobatance  oftbtsenay  tends 
only  to 'corroborate  the  dedoctiona  drawn  from  and  imeited  at  the 
close  of  my  last.  We  have,  bowerer,  I  eonceiTe,  arrived  at  an  iro- 
portaot  distinction  in  addition  to  tbou  lawa  wbicb  I  tbeiciii  ven- 
'  tnrcd  to  lay  down. 

The  effecti  of  music  in  exciting  tbe  pBamoM  are  susceptible  almost 
of  tiie  same  mioQle  di^rnit  and  classfficationi  as  distingniih  the 
patiions  themwlvci. 

Fori  find,vrith  Bach  nnilbnnity  tbat  tbe  exceptions  only  establish 
tbe  rule,  tbat  angmented  intervals  are  employed  in  tbe  exfHarioD  of 

*  I  have  pnpoidyottfttedta^etkortheeflector  BliMrMn«r(^Mep 
porriy  ehiomtfic  u  tliey  may  beroAn  become  tbe  mtject  of  tegmia  caoA- 


I  t)y  Google 


ON  TllE  FORMATION  OF         OPEUA.  Ifii) 

deTBtim  of  miRil  and  the  livelier  scntimcDls,  wliilc  dimiuishod  iiilcr- 
vala  u  anifoimlj' demonilrale  griefand  depresuoo.  XbcKloohave 
thdr  jnit  degreei,  as  majr  be  «asU;  prored  by  lie  examiaation  of 
songs  tbat  exhibit  TPgalar  gradations  of  feeliog.  Xbese  gradations 
appertain  as  complctclj  to  ibc  difTerent  keysand  fbeir  scales,  for  the 
principle  is  (In;  bami:. 

With  ri^apeci  (o  the  effects  of  the  ieya  I  think  ve  aremnanted  in 
dtaivinij  llic  fullowiiig  infcroiiccs; — 

Isl.  Tiiat  till'  kt-y  of  C  from  its  approximation  to  perfect  tune  U 
adapted  tu  iiarr.ilive  .ind  to  bcntiinunts  ivhich  arc  shaded  by  no  iil- 
Icnsc  passions  or  niructiona;  that  it  rather  indicates  a  mind  free 
than  impresGcd. 

The  kcj'sof  F  and  G  are  adapted  to  the  llghesl  touches  of  feding, 
the  former  being  adapted  to  expressions  of  sadness,  tlie  latlei  tothose 
of  gaiety.  The  keys  of  B  Sat  and  D  cany  a  little  foitber  tbe 
same  unpressions. 

The  key  of  A  with  sbarpsaQbrdsan  interval  In  tbe  application  (J 
the  stimulant  proportions  of  music,  which  b  not  to  be  foand  in  the 
inccession  of  flat  keys  that  arc  appropriate  to  the  pathetic  trains  of 
emotion.  E  with  sharps,  occupies  in  the  one,  the  place  which  £ 
with  flats  possesses  in  the  other ;  and  hence  it  follows  that  the  num- 
ber of  sharp  keys,  to  which  a  composer  may  recur,  is  greater  by  one 
than  of  the  flat  Iceys.  From  this  key,  however,  io  both  cases,  it  ap- 
pears that  the  intensity  of  the  operation  of  tempetanient  begins  to  be 
felt,  and  that  its  limits  stand,  in  compoNtions  for  voices,  at  F  sharp 
and  at  D  fiat  keys— beyoDd  which  there  Is  no  pasdng  without  infiuite 
liik  and  danger. 

I  am.  Sir, 

Yonn,  lespcctAilIy, 

H. 


TO  THE  EDITOR. 


NaairioH,  Fbb.  R,  ISSI 

Sir, 

CHtADNi's  Treatise  on  Acoustics  contains  many  very  valuable 
and  novel  cspcrimeiils  oii  Ihc  nndire  of  llic  vibralions  of  sonorous 
bodies ;  ami  if  you  tliink  extracts  from  tliig  work  worlliy  of  iiiseition 
in  your  Magazine,  wliicli  increases  in  worth  and  utility,  you  ate 
extremely  welcome  to  avail  joiirself  of  my  endeavoars  lo  excite  tlie 
attention  of  liiose  who  can  read  French  to  (tie  translation  ia  Lbat 
langoogc  from  the  original  German. 

C.  J.  SMTTH. 

ABRIDOEUBNT  OF  GHLADNI'8  LIF£, 

Profited  to     TVoiri  jyAcmuHiiue. 

Ky  BUhei  (Snt  profenor  of  law  at  Wittontm^,  ia  Saiony,)  tad 
given  me  a  good  edncation  in  my  pateniBl  mansion,  and  at  length  in 
the  piovincial  school  of  Grimm£.  My  edncaticHi  left  rae  very  tittle 
liberty;  so  that  if  others  consider  their  youth  as  the  most  happy 
part  of  their  lives,  I  cannot  sny  as  much  of  mine. — This  continual 
restraint,  which  woald  not  have  been  necessary,  because  I  was  not 
disposed  to  abuse  liberty,  produced  a  quite  contrary  edect  by  im- 
pressing me  with  an  almost  irresistible  inclination  to  chuse  for  my- 
self my  occupations,  to  travel,  lo  strive  against  adverse  circum- 
stances, &c.  Being  returned  to  Wiltenburg  and  lo  Leipzig,  and 
after  having  fulfilled  what  was  required,  I  obtained  at  Leipzig  the 
employment  of  a  professor  of  law;  bnt  after  the  death  gf  my  father 
I  quitted  jurisprudence,  because  it  was  not  conformable  lo  my 
inclinations,  and  I  applied  myself  principally  to  the  study  of 
nature,  nhifih  had  almys  been  my  secondary  occapation,  and  yet 


un  or  eoLAsu. 


171 


the  DMwt  AnUbai.  Ai  a  lorer  of  mndo,  oT  whiofa  I  bul  begiu  to 
losrn  Ibe  Bnk  danmU  » little  l&te,  id  my  ninoloeiitb  you,  I  ofaamod 
that  ths  (bcorj  of  nHnd  had  boon  more  oeglccled  than  nuu^  oUiei 
bnnches  of  phjwcs,  which  inspired  me  with  the  wish  lo  supplj  the 
want,  BDil  of  being  iiserul  to  this  part  of  natural  philowplij'  bj  tome 
discOTerieB.  In  making  (in  lha  ycai  1TS5)  a  great  many  very 
ioipertect  cxperinienia,  1  Imd  ubservril  tliat  a  plate  of  glass  or  of 
melal  gave  diflerent  sounds,  when  it  was  conGaed  and  struck  at 
difTercnt  places ;  hut  1  found  no  part  of  Ihe  discovery  on  the  nature 
of  llie  manner  of  these  vibrations.  The  journals  bad  given  in  tboec 
limes  notices  of  a  muiioal  inalrument  made  in  Italy  by  the  Abiir 
Habzocchi,  and  oonililing  of  belli,  lo  whkh  ha  applied  one  or 
more  violin  bows ;  i^ioh  ciued  me  to  oonodve  the  Idra  of  making 
me  of  n  fialinJwv,  in  older  ia  examias  Us  vUHatEeM  of  diffinwnt 
ioaarau  bodiea.  WIwb  I  applied  the  bow  to  a  nmDd  plate  of 
brut,  fixed  in  the  middle  it  gave  difietent  kmukIs,  whidi»  mnpand 
with  each  othra-,  were  equal  to  the  squares  of  9,  S,  4,  5,  &c.  Bco.  btit 
the  nature  of  the  maveracnl  to  which  the  soundi  corresponded,  and 
the  means  of  producing  each  of  these  movemctils  at  pleasure,  were 
hitherto  nnknown  to  me.  The  expertmeiifBon  cloclric  figures,  forracti 
by  a  plaie  of  resin  covered  nith  sand,  discovered  aiid  published  by 
IiiTOHSNeuRi:  (in  tlie  Memoirs  oftlicRoydl  Society  at Gotiingen), 
made  me  prraumc  that  the  dilTcront  vibratory  moliane  of  a  sonorous 
plate  ought  to  offer  different  appearances,  if  a  little  sand  or  other 
•Imilar  matter  waa  etrewed  on  tbeCv  enrface!  and  employing  these 
meant,  the  firet  ftgnra  whieU  pToaeoted  itself  to  my  ejea  an  the  snr- 
faae  at  a  nmnd  ptoto  of  whioh  I  been  apeoking,  reiembled  a 
Kar  with  10  et  19  t%yi,  wid  a  very  aODle  aoand  was  beard  itt  tke 
Mriea  mentioaed  above,  a*  agned  wtth  the  aquw  irf  tbe  imtii- 
bcr  of  the  diametric^  Ilnei.  Only  gn^  my  astonlihment,  to  Ming 
tliis  phenomenon  which  no  other  person  had  ever  seen  befor»^~ 
Aficr  linving  reflecled  on  the  nature  of  theea  movements,  I  did  not 
li"d  it  diOicult  to  vary  nnd  multiply  the  experiments,  whose  lemha 
folloiFed  with  rapid  anocession.  My  first  Uemoir,  Which  Mririu 
retearchcs  on  the  vibrations  of  a  round  plate,  of  a  tquars  fdoto,  a 
be|I,  of  a  ring,  &c.  appeared  at  Leipiig  in  1T87*  The  femlta  of 
the  researches  which  I  have  ilnca  made  on  longHodinal  VibnUOM, 
and  on  other  objiicti  of  Acoustic^  are  to  tie  found  ia  ceitalQ  German 
joainaliandinthcmenunisofdifoenttocMies.  FlDB]ly,af)ei  having 
z  2 


Digilized  by  Coogle 


Las  OF  CBLADNI. 


mxle  ;ot  raore  exporimonta,  I  have  naited  as  much  as  poaible  tbe 
lesults,  in  Tn.-a.tisc  on  Acoiiitici,  nhicii  appeared  iu  Geiraati  al 
Leipzig:,  ii)  which  1  have  abridged,  changed,  and  added  a  great 
deal,  as  appeared  to  me  most  convenient. 

The  invention  of  the  Euphon  and  of  the  Claircylindre  and  their 
cxcculion,  in  verj  unfavorabk  circumstances,  cost  me  mach  more 
lime,  more  labor,  and  more  expence  than  my  researches  on  the 
nature  of  sound,  of  which  theiie  tiro  initrumenta  are  the  practical 
applicalionB.  ThMe  who  have  laboured  in  a  similar  vraj,  aa  for 
'  example,  those  who  hare  tried  to  perfect  the  HarmonicB,  know  full 
well  tbe  unforeseen  difficulties  which  are  met  with  in  limilaTeffinli. 
Too  often,  when  we  would  apply  to  practice  (he  ideas  whioh  appesT 
coirfbrmable  to  tlieory,  nature^  consulted  bj  expedmenla  aad  trials, 
disavows  onr  conjectaiet,  and  opposes  to  us  insnnDonntable  ob- 
stacles, lybicb  we  conld  not  ibrette.  Thus,  after  having  labonied  in 
vain  during  a  long  space  of  time,  we  nrast  ■omeliBies  destroy  all  we 
have  done,  and  begin  again.  Bat  tbe  least  sticcesti  causes  us  to 
forget  all  these  trials  of  patience. 

The  Euphon,  invented  in  1789,  and  finished  in  1790,  consists 
external!;,  in  small  cyliadera  of  glass,  which  arc  rubbed  longi- 
tudinally with  the  fingers  moistened  with  water.  These  cylinders,  of 
thethloluiettrfa  pen,  ore  aU  equal  in  length,  and  the  dlfibcenoeof 
the  tonnds  is  produced  fay  interior  raechanisin.  The  soond  more 
leiembles  that  of  tbe  HamonioB  tluntbat  of  any  othet  iutraoienl. 

The  CM^fftutv,  b^au  about  the  year  ISH^  and  rincs  brought 
(opei&ction,  contains  a  fiitgef-board,  and  behind  this  fiagei-boaid 
a  cjiliiidei  of  glass,  whicb  is  tuiuDd  by  means  of  a  pedal  and  a  leaden 
whed.  This  cylinder  is  not  itself  the  sonorons  body,  ae  the  bells  of 
Ihff  Hivmonica,  but  it  produces  the  sound  by  its  friction  on  the 
Interior  mechanism.  The  principal  quality  of  Ibis  instrHmenl  is  the 
power  of  prolonging  tlic  sounds  at  pbasutc  witti  all  llie  shades  of 
crianoido  and  t/iniimicnifo,  according  as  we  augment  or  diminish  the 
pr<;£surc  of  the  keys.  Ifns  instrument  never  goes  out  of  tunc.  The 
reports  of  the  Institute  of  France  and  the  Conservatory  of  mosif^ 
have  judged  very  favorably  of  this  instmment,  which  if  well  made, 
will  always  be  confonoBble  to  the  tfaewy.  The  best  maaoei  of  pro- 
dudng  the  wunds  will  be  to  nse  a  Tidio-bow. 


178 


Extracts  Scorn  ChladDi's  Trails  D'AcousUque, 

BKPBIHTBD  AT  PARIS  ISM. 

PRELIMINAltV  OHSKRVATIONS. 

Every  possible  oiolioii  is  tilhor  prugroasiii",  iiil:iluij,  oi  yOira- 
lory.  A  Tibriilory  mulion  iiutlkiciilly  rapid  and  sufGciuiiil)'  strong 
to  act  on  llic  urgaifs  of  tiearing,  ia  a  sound. 

If  tlic  vibrations  of  a  sonuroui  boilj  are  apprecinble  aa  to  thdr 
quickness  and  change  of  figure,  ihey  arc  called  ditlim^  sound,  or 
tound  properly  bo  called,  to  distinguish  them  ftom  note  m  inappie- 
cisble  vibralioiui 

Elaitkity  is  the  moring  force  ofsoanil.  A  aonorous  body  may  bo 
elastic,  cillier  by  laiswii,  by  compression,  or  by  internal  HgidUj/.  In 
order  lo  oitr  perceiving  a  sound  there  must  exist  a  conlinuation  of 
some  matter  between  llic  sonorous  body  and  the  organs  of  bearing. 
The  air  is  commonly  the  conductor  of  sound,  but  all  liquid  matlcis 
propagate  sound  mlh  more  rapidity  and  forc^  than  the  air. 

Acoustics  arc  the  theory  of  sound.    The  objects  o(aam$lics  — 

1.  The  numerical  ratios  of  vibralionf. 

S.  The  peculiar  Tibratiom  of  loaoronibodtea. 

3.  ^Qte vibntEomcommnnicaied orthepropagationof loand. 

4.  The  temation  of  loond  or  hearing. 

The  firsl  forms  the  arithmelical  jiart — the  second  and  Ikird  the 
meclumical  part — and  the  fourth  the  physiological  part  of  acousttci. 

OF  THE  NUMERICAL  RATIOS  OP  VIBRATIONS. 

By  Ibe  vord  sowid  is  meant  (A«  qukkaris  of  vibrations.  The  trord 
pilcA  is  an  appropriate  term  for  sound  in  this  sense.  An  acute  differs 
from  ugrmewaad  by  the  greater  or  less  uumbet  of  vibrations  in 
the  ume  ipace  of  time. 

An  mlamal  ia  the  ratio  of  one  eouiiil  (u  .-iiiutlier.  Wu  generally 
consider  the  moat  grave  or  lowest  sound  as  the  base  with  trhich  yte 
compare  the  more  acute. 

A  ?nclot/y  ia  a  succcssioa  of  soundi. 

A  chord  h  the  co-existence  of  muij  MOodB. 

HamoHy  a  a  auccesaion  of  choidg  or  the  co-esiiteDce  of  nuuiy 


1T4 


GHLiDNi  ON  Acomrrici. 


Mtuk  availi  Ibelf  of  the  materiaU  of  which  aoootUct  fitnuah  Iho 
tbeoTf,  in.ordcr  t?  excite  seiuittions. 

Mk,  CiiLADNi  invented  a  verj  simple  method  of  proving  lo  the 
cjB  and  ear  the  number  of  vibrations  ^hich  belong  to  eveiy  sound. 
Toefiect  this,  be  availed  himseirof  n  aonoroiia  bodj,  of  asufficient 
length  to  admit  of  the  vibmlions  made  in  a.  certain  space  of  time  lo 
be  seen  and  counted  :  III  is  sonorous  body  admitted  of  being  Icnglh- 
cned  and  shortened  at  pleasure,  in  order  lo  compare  the  sonndi  and 
the  Icngtbg  of  the  parU  with  the  nnraber  of  the  vibrationi  counted, 
and  with  the  lenglli  of  tlie  wliole  bodj.    He  made  use  of  a  pinle  of 

iron  or  brass,  almoal  imlf  a  line  [  ]  in  tbickncM  and  half  an 

inch  wide,  and  of  a  safficlenl  length  to  vibrate  verj  alowly.  It 
most  he  of  the  same  thickneM  thmnghout.  The  qnicknen  of  Die 
vibrations  ofsnch  a  ptate  are  in  the  inverse  ratio  of  the  squares  of  the 
lengths,  when  all  other  ctrcnm stances  remain  the  same. 

One  end  of  this  plate  is  fixed  into  an  immovable  vice,  making  it 
vibrate  more  or  less,  until  it  shall  give  in  each  second  oftime,  a  certain 
number  of  vibrations  visible  to  the  rye,  and  wbicli  may  be  compared 
with  the  oscillations  of  a  pcndidnm  vibrnling  seconds,  which  are 
heard  while  oslronomicnl  observations  arc  making.  A  little  practice 
willenableuB  looount  eight  vibrations  ina  second.  Suppose  wc  wanted 
to  make  four  vibrations  la  a  second,  In  order  to  mark  exactly  the 
length  of  the  (nJSe)  sail/  or  leap  of  the  plate,  let  it  be  divided  into 
S,  if  8,  and  other  numbers  of  parts.  If  the  plate  be  fixed  in  a  vice, 
so  that  the  half  projects  above  the  vice,  it  will  give  16  vibralioDs  ia 
a  second.  These  ribiatioiu  are  too  slow  to  be  lieard  and  too  qnick 
to  be  counltdi  but  a  distinct  sound  is  to  be  heard  if  the  plate  be 
made  to  vibrate  in  two  unequal  parts,  so  as  to  form  a  knot  of  vibra< 
tion,  at  the  distance  of  the  end  which  Is  free,  a  little  less  than  the 
third  ))art  of  its  length.  This  will  make  two  vibrations  in  a 
second,  as  does  llie  fixnd  sound  of  £nur>cur.  It  will  give  G|  almost 
a  tliird  iiiEyiir  bi'liiw  tlii^  lowest  C  of  the  finger-board.  If  (lie  part 
of  tlic  plalp  which  projects  from  the  vice  be  shortened,  so  that  it 
shall  be  equal  to  tlic/o»rf/i  of  the  whole  plate,  it  will  make  6t  Titm- 
liuns,  which  will  sound  C,  answering  to  the  la^fest  BfriOg  of  the 
violoncello.  The  second  sound,  which  makes  400  rfbmtlons,  vill 
}  give  G|  more  acute  by  two  octaves,  than  that  which  made  100 
TibniUoiu.  Wlialevcr  be  the  manner  in  which  the  plate  Is  tlitudivi- 
.  ded,  the  result  of  (he  experiments,  if  the;  are  adimade,mQ  alwajs 


DigiMzed  by  Google 


ciiLADin  olf  Acotnnci. 


be  conformnWe  lo  theory.  The  bcsl  nmitner  of  proilncing  llic  sounds 
will  be  lo  use  a  violiii-bow. 

OFTHE  VIBRATIONS  PECULIAaxO  ELASTIC  BODIES. 
Gmeral  Retmirki. 

Elasticity  being  Ibe  moTing  force  foi  sonoroai  TibratiaiM,  a  sono- 
lons  bodjr  nitty  be  daiHe, 
By  (cnrtm, 
By  ampresaon. 

Flexible  bodies,  wlilcli  become  elastic  by  tension,  may  hajm-fom^ 
when  the  cbangc  of  tbc  figures  cnn  be  expressed  by  curve  lines,  as  in 
chords,  at  membnmi-form,  when  the  charges  of  the  figure*  cannot  be 
expressed  by  curvelines  but  by  curved  surihcei,  aa  in  (he  membranes 
of  drums  and  other  stretched  membrtatet. 

Sonorous  bodies,  eiiuttefiycom;)re»{i»i,  are  the  air  and  (begmute 
different  aiiid  instruments. 

Boti'ict  elastic  by  their  inlemd  rigfdity  exa  cilhcTfili-foi-m  or  mem- 
brani-form.  The  fili-Jbrm  may  be  slrmghl,  na  rods  or  lamina,-  or 
curJXd,  as  rings,  forks,  Sus.  &c  The  ri^d  membrtmi-firm  bodies  are 
alsoeitheidntigftt,  aspJbfetof  any  ibim;  oicurced,MwaetKadbdb. 

la  lEslitiet  sound  the  vibratbns  of  the  sonorous  body  or  of  lis  parts 
are  formed  in  the  lamc  time,  and  all  the  ?ibra(ions  are  of  equal 
duration ;  but  we  cannot  suppose  the  snme  thing  in  a  noise,  of  which 
-we  know  not  yet  the  nature.  Sounds,  when  the  manner  of  llic  vi- 
brations, tlie  quickness  and  force  are  the  same,  have  nc;ForlLeti'ri^ 
sometimes  a  very  different  character,  which  is  called  (liinbre)  qiiiililij 
of  lone  :  it  Bi'eins  lo  de[)cnd  on  the  rigidily  or  tonacily  of  the  bodies 
and  tlie  quality  of  the  matter  which  is  used  lo  put  them  in  motion. 
We  know  not  yet  (he  true  causes  of  these  diffirent  efifactt,  and  there  ii 
yet  nffineans  of  submitting  them  to  calcuUtion  or  to  experiments. 
This  difference  of  quality  of  lone  seems  to  be  caused  by  allttle  noise 
mixed  with  the  appreeiable  sound :  for  example,  in  a  melody  which 
is  heai:d,  berides  the  vibialions  of  the  lur,  the  frictioh  of  this  fluid 
on  the  organs  of  (he  yoice;  on  (he  violin,  besides  the  Tibrations  of 
tliB  strings,  we  heu  the  friction  of  thebow  on  lhestiiitgs,&c.  Per- 
haps (tie  iliRbrent  kinds  of  noise  and  quality  of  sound  consist  in  the 
unequal  motions  c^thetmalteit  parts  of  the  body,  as  (hose  by  wbioh 


Digitized  l)y  Coogle 


176 


CHLIDNI  ON  ACOUSTICS, 


heretofoic  Lahibb,  Cakhs,  and  Mds>cbbi(bdobk,  nuked  to  ex- 
plain the  nature  of  sound. 

1.  Eyerj  lonoroiia  body  may  mnkt  ribratioiu  jery  difierent 
among  tlieouelra,  of  wfaicb  eacb  has  a  certain  lalJo  of  quickiwn 
with  the  othciBf  which'dcpenils  on  the  size  of  the  vibrating  parts. 

When  the  Mnorous  body  divides  itself  into  any  numlicr  of  vibrating 
parts,  Iheie  parti  of  which  the  cscussions  (wlilch  are  called  ventres 
deTibratioDB)separatedb;  immoveable  limits,  (which  are  called  knots 
of  vibmtiona)  make  their  movements  alwajri  allernalely  in  an  opposite 
direction ;  to  that  one  is  above  the  ordinary  position  vfaile  the  other 
is  below  it. 

Tlic  isochronism  of  the  ribrationa  of  all  the  parts,  produced  by 
their  relative  cqailibrium,  being  an  iadispensoble  condition  of  sound, 
the  decision  of  the  sonarons  liody  most  be  always  m  n^Iar  as 
circumstances  permit.  The  size  of  a  part  ritualed  at  one  free  end,  is 
almost  the  half  of  s  part  wbicb  is  fiiand  between  the  unmoreable 

In  order  to  produce  a  certain  sonnd,  yie  may  hold  or  toach  one  or 
more  of  the  knots  of  vibration,  aad  rub  and  strike  a  vibrating  port  in 
the  same  direction  in  which  the  vibraliona  are  made- 
Many,  or  all  the  manners  of  vibrnlions  may  eo-exist  in  the  same 
sonorous  body;  the  vibmlory  motions  mny  also  co-exist  \ritfi  other 
Icinds  of  motions. 

2.  The  direction  of  a  vibratory  motion  may  be  iranstersiomi,  or 
ttmgiladitial,  or  rolatori/, 

TratisversianalTibralbns  consist  In  tiiB Contractions  and  dilalations  of 
(he  sonorous  body  or  its  parts  in  the  direction  of  thcaxis,  or  according 
to  the  length.  The  bodies  snsceptible  ofsuch  movements  are  ( 1st.)  the 
,  air  conlainefl  ia  vini  inslrninenls,  (3d.)  strings  or  straight  rods  of 
s  raffiraent  length. 

The  laws  of  these  two  kinds  of  vibrations  arc  very  dilfcrent. 

The  rotaiori/  ■abratiom,  of  which  rods  and  hiinina  arc  capable, 
consist  in  the  turnings  which  are  made  alternately  in  an  opjiosile 
direction.  In  cylindrical  rods,  or  prismatic,  (lie  sound  of  Ibcsc 
vibrations  is  always  more  grave,  by  a  61th,  than  the  longitudinal 
sound  of  the  same  body  divided  in  thesame  manner. 

The  itttensity  of  sonnd  depends  on  the  greater  or  less  excossions,  on 
Ihcsizeof  tlic  sonorous  body,  and  on  theqnicknesa  of  the  vibrations. 
[to  bb  cohtihved.J 


ON  THE  CONSTRUCTION  OF  OPERAS. 


^OTHiMfl  i«  ro  difficult  u  to  arrire  at  ttulh  Id  raallen  erf  tatU, 
Out  attention  tonardi  the  subject  oT  the  opefa  Inust  slways  be  kept 
alive,  but  it  hat  bren  lately  excited  more  ationglf  tban  luiial  by  the 
slate  of  oar  own  Musical  Drama,  by  the  teioporeiy  deraogement  of 
Jbe  affiiira  of  the  King's  Theatre,  anci  by  tbe  ktter  of  a  Comspoii- 
dent  concerning  (be  Englisli  Opera,  which  is  already  before  out 
readers.  We  have  torncil  over  many  books  lo  ascertain  the  senti- 
ments of  Ihe  critics  of  diffcieiit  nations  and  of  contemporaries  upon 
the  topic  in  qneslion,  and  amongst  out  researches  we  met  with  (be 
following  remarks  in  a  late  French  publication  on  the  fine  KrUt 
With  a  view  therefore  to  exhibit  the  feelings  and  the  reatooing  of 
onr  lively  and  speculatire  neighbonn,  we  lAve  Irtmslatcd  (be  artick 
which  follows. 


OPERA. 

In  the  tpeetaeletbatdetigoated  by  the  Italians,  thereuMgreatK 
niztnre  of  grandeur  and  meannen,  of  beauty  and  absnrdity,  (hat  it 
u  difficult  to  speak  of  it  suitably.  In  the  beat  opens  ooe  sees  and 
hears  such  anomalies  (hatUiey  only  appear  intended  loeadtethe 
ufamishraent  of  children,  or  of  that  part  of  tbe  people  who  icsemfale 
tbem.  In  the  midst  of  these  insults  to  good  taste,  (here  are  scenes  to 
be  found  which  penetrate  the  heart,  fill  the  soul  with  (he  sweetest  vo- 
lop(uotuness,  excite  tbe  tenderest  pity,  or  inspire  fear  and  terror.  A 
scene  of  the  deepest  interest  is  often  followed  by  one  in  which  (he 
same  persons  appear  no  better  than  jugglers,  wlio,  with  ridiculous 
pomp,  but  with  grent  skill,  seek  to  inspire  the  populace  with  terror 
and  astonishment.  Offended  by  these  frequent  follies,  it  costs  some 
trouble  lo  make  the  opera  a  subject  of  meditation  i  but  on  tbe  other 
side,  ifoncrecaU  the  pleaBures  derived  from  it,  itis  impossible  to  help 
wishing  that  men  of  taste  would  unite  their  efToTtslo  confer  upon  tbh 
imposing  spectacle  the  perfection  of  which  it  is  capable.  Tbe  opera 
may  in  fact  be  made  the  greatest  and  most  important  of  all  dramatic 
exhibitions,  because  it  unites  within  itself  all  the  chamB  of  Ac  fine 
TOL,  in.  110.  X.  A  a 


118 


OS  THE  COTtSTKCCnOH  f>9  OFERAl, 


arti ;  but  thisBaiue  peTfiAniBneedenioiiitTateithe  levity  at  tlie  ra<Hlerni, 
who  hareefflplofcd  it  lo  degrade  tboKarti,  frequcnilf  to  rentier  ihcin 
ridiculoiis  and  to  expose  them  to  caalempt.  Poetry,  raufic,  daneing, 
painting  principally,  with  decoration  and  architecture,  are  com- 
bined in  the  representalion  of  an  opera.  To  avoid  confusion,  we  shall 
lUcccEsivclj  consider  nlial  each  of  tbc&e  ails  conlribnics. 

The  dramatic  action  wbicli  is  the  principal  object,  is  due  to  poetrj'. 
^ — It  was  fornncily  the  custom  in  Italy,  the  cradleof  IIiL'opcriijlo  take 
Ihc  subjfcts  from  mylbology.  The  myUiology  of  Ihe  ancients,  iIil- 
empire  of  ihc  fairies  and  sorcerers,  as  well  as  the  fabnlous  history  oi 
the  knights,  ofl'crcd  persons  and  subjects.  In  our  days,  the  pocta 
who  write  operas  have  not  in  fact  entirely  abandoned  the  use  of  my- 
thological subjects,  but  they  also  treat  of  history,  ihc  usual  founda* 
tioa  of  tragedy.  It  may  he  imagined  (hut  tragedy  and  opera  areen- 
gaged  nearly  upon  the  same  lubjecls.  Tbey  both  represent  an  action 
of  ibort  duration,  great  and  reniu-kable  for  the  passions  which  ope- 
rate in  diflereut  ways  and  tcrminale  by  tome  remarltable  catadropbe. 
But  the  poels  who  write  simply  for  Ihc  opera  appear  to  liave  adopt- 
ed it  an  a  law,  entirely  to  abandon  the  natural  road.  Their  maxim  is 
forcibly  to  strike  the  spectator  by  varied  scenes  and  by  great  pomp. 
Combats,  triumphs,  fhip-wrccks,  tempests,  spectrins,  wild  liciists,  &c. 
these  arc  the  attractions  they  oAbt  to  the  spcclalur. 

Otic  may  thus  easily  imagine  how  often  ihir  pi)i'(  is  ohligi'd  to  furce 
his  subject — to  sacrifice  the  essential  points  of  tragic  action,  and  the 
dcvclopcment  of  great  characters  and  strong  passions  to  a  secondary 
object,  but  one  more  alriking  to  the  eyes.  The  plan  therefore  of 
almost  every  opera  consists  <^  forced  events,  contrary  to  nature  and 
even  fantastical.  They  are  abtaidities  to  which  fashion  condemni 
even  the  best  poets.  tTnfoTlunalely  these  are  not  the  only  faults. 
The  singers  also  have  their  pretensions.  In  every  opera  the  best 
voices  must  be  heard  iRvernl  times,  but  middle  rate  and  even  bad 
singers  who  aie  engaged  for  the  thi^alrc,  and  whom  it  is  ncccuaiylo 
pay,  must  also  be  heard  once  or  oflcner  in  airs  of  a  certain  extent. 
The  first  male  and  female  singer  most  also  be  heard  together,  conse- 
quently the  poet  is  obliged  to  iiilrndncc  duels,  trios,  qiiHtlrlts,  &c. 
Further,  the  first  singers  can  only  display  llidr  peculiar  talent  in  a 
particular  character,  one  iiia  tender  adogio,  another  in  a  lively  allegro, 
&c.  The  poet  is  therefore  forced  to  write  his  airs  so  that  each  may 
shibe  in  their  particular  style.  It  is  hardly  possible  to  form  an  idea 


OH  THK  CONITBDCnON  OF  OPERAS. 


179 


of  lliese  numberleu  inconveniences.  To  oneor  two  ot  the  principal 
female  si ngers  must  be  allotted  tlie  Gnt  chBractera,  wbalevci  be  the 
tintura  of  Ibe  action.  Indefnnit  of  anj  otiiercxpedicnl,  the  poet  has 
uflcn  recoiirse  ln  a  tore  intrigue,  however  contrarjr  it  may  be  to  tbe 
gencTiil  nir  ofllie  plot.  Thus  Metaslasio,  one  of  (lie  best  operatic 
authors,  in  orilor  lo  give  two  femBle  singers  an  opportunity  to  be 
hearil,  in  despite  of  the  nnturc  ot  the  action  and  eveiy  thing  thnt  wat 
reasonable,  in  the  death  of  Cnlo  at  Ulicn,  was  obliged  lo  represent  two 
KDmen,  Coriu-lia,  the  ividoiv  of  Puinpej-,  mill  Marcia,  the  danghtet 
orCalo,  as  in  lovt-  wi(li  C;esar  a^id  liuhivi-d  liy  a  Prince  of  Niitnidia. 
Jt  reeds  not  much  reflection  to  perceive  the  folly  of  mingling  the 
iolriguea  of  lovers  with  »  grave  a  subject. 

Operas  ))rcscnt  another  abBurdltf.  To  give  each  nngeranoppor- 
tunily  to  appear,  they  are  ofUn  nude  lo  sing  on  occBsions  whm  do 
reaioDftbla  man  ever  thonglil  of  so  doing.  Thns  Pylules,  io  the 
IjAigmia,  in  Tamda,  by  Gnillard,  Kings  an  air  wbile  he  has  not  a 
moment  to  succour  bis  friend.  The  subject  of  tbe  song  is  not  fre- 
quently better  chosen ;  tt  oAcn  consists  of  cold  reflections,  general 
maiinii,  or  imnatnrel  allegories;  of  such  a  kind  is  the  rejection  in 
the  fifili  scene'  of  the  second  act  of  The  Adrian,  of  Mctastosio,  "  that 
>n  old  espericnccd  warrior  does  not  strike  blindly,  but  retains  liis 
courage  till  tbe  moment  when  he  is  in  on  advantageous  position;" 
likewise  in  the  third  act  of  (lie  same  piece,  the  folloii  ing  cold  allegoryt 
"The  vine,  after  having  been  cut,  shoots  better,  niid  the  oderiferous 
gum  only  flows  from  wounded  trees."  Such  in  QuinauWs  Theseus  is 
tlic  irilc  atid  valuable  reflection  of  Ihe  hero,  "The  softest  chains  cost 
sighs;  it  is  necessary  lo  undergo  pain  in  order  to  arrive  at  pleasure." 
AnoUier  glaring  abanrdity,  of  wbicb  almost  every  opera  funiishea 
examples  u,  that  persons  dther  from  tbe  inuniDcnt  dangen  by  n hich 
they 'are  threatenedyor  by  some  other  imperious  eans^  ought  to  use 
tbe  greatest  activity  in  their  enterprises,  remain  coldly  upon  the  stage 
during  the  ritornel,  and  then  sing  airs  in  which  the  words  are  re- 
pcBted  even  to  satiety,  as  if  the  danger  no  longer  existed.  This 
style,  inscpatable  from  Ihe  structure  of  the  opera,  is  to  befoiind  in  tbe 
best  poems.  Thus  in  the  superb  chorus  in  Armida,  bj  Quinault 
and  (Ji.^jcK,  the  warriors  and  the  magician  repeat  a  hundred  times, 
"  let  us  pursue  lo  death  lie  enemy  who  offends  us,"  instead  of  rnshing 
(o  the  pursuit.  These  extravagonoies  are  oviog  sometiaies  lo  the 
poet  and  totnetimet  to  (he  musician. 


180  on  THE  CONlTRVCTUX  OF  OTUUl. 


Tberc  nie  alio  man;  othen  which  are  due  to  the  cod^oki  of  the 
music.  This  art  is,  and  can  only  be,  according  to  iti  nature,  tfas 
espredsion  of  Ibepassiiiiis,  or  Hint  of  a  calm  or  agilaled  mind.  But 
composers,  singers,  and  mnsiciiin.s,  arc  tiut  coiilcnled  by  this  sole 
application  of  llic  art.  In  ttiis  poijit  tbey  resemble  those  rope- 
dancers  and  ju^glcra,  who,  in  order  to  excite  the  astoniihnieiit  of  the 
populace,  make  use  of  lLi:ir  hands  la  walk  upon,  and  their  feet  to 
wield  thesword,  or  for  the  other  functions  reserved  to  the  hands.  It 
is  the  paae  with  tbe  musicians  of  the  opera — there  are  but  few 
dnunai  in  which  the  composer  has  not  encroached  upon  the  domain 
pf  the  painter.  Sometimes  he  represents  thunder,  dashes  of  light- 
ning, tempeit^  the  inpetootity  of  the  wiadi,  the  course  nad  Ibe  fall 
ofarivulet,  the  clash  of  arms,  the  Sight  of  a  blid,  ar  ellMrnatnnl 
Qlyecls,  which  have  no  relatioD  to  (lie  (eDtimenla  of  the  hewt.  This 
depraved  lasle  is  donbllcss  the  cause  why  the  poets  have  inlioduMd 
into  their  similes,  navigators,  lions,  trgi^rs,  and  other  objecli,  whiok 
ttrike  forcibly  on  the  imnginalioii. 

To  thb  rage  for  description  may  be  added  the  desire  sbioing 
by  difficulties  with  which  many  composers,  sit^rs,  and  musicians, 
are  tormented.  The  singer  wishes  the  public  to  adrain  Ibe  facility 
with  which  he  sustains  his  voice,  hia  eztrmrdinary  compaM,  or  bit 
lexibili^  and  volnbilitjj  or  other  lifcequalHtWr  The  inrtmwewfcl 
performer  is  aUo  aaxiqn^  to  maaifnt  Jiis  okiU  in  biiUiuit  and  4it^ 
citlt  pusfgpt.  The;  thoicfon  axpicct  Uie  compMn  ts  fbioUtlbe 
ocoa«i9n.  TlWACe  proDced  thos«  roaladei,cadniMi,  and  paw  ays, 
whopeoBly  m^olia  the  difficult  vaaqaiibed,  aiiili>tudi«A«i,iBAe 
most  impassioned  ain,  absolutely  destroy  eveiy  speciea  «f  aentiaMnt. 
Fionk  thence  arise  (liose  strings  of  ornament,  by  which  an  expiMlTa 
melody  it  to  envsloped,  tliat  it  ia  ri^cogiiiscd  with  difficulty. 

The  music  of  many  operas  is  devoted  1o  stupid  themes  which  liave 
DO  tentimenl,  because  it  it  necessary  to  have  a u  air  in  each  tcene, 
neverthelest  aa  a  dramatic  work  due's  not  entirely  consist  of  llie 
demonstrations  of  sentiment,  the  poet  is  sonief  lines  obliged  to  present 
tn  the  lyric  style,  orders,  projects,  observations,  rcmonslranccs,  &c. 
and  the  composer  it  under  the  necessity  of  setting  music  to  them; 
tjiiis  (^pressing  the  auditara  with  insn^^wrteble  eoaui. 

The  costomc  and  decorations  frequently  present  great  iBCoa- 
gmitita.  In  ovary  opera  H  it  Iboiight  almott  indiipeiMaUe  to  intn^ 
dnce  icenet  which  an  to  prodoH  aaarpiiiu^  •fibcl  wUunt^coMi- 


ON  TilK  CUNSTItUCTION  OF  OFKKAS.  181 

dcring  wbetticr  tliey  ngrce  vritb  tiie  oaluie  of  Ute  acttoa.  Frequenli/ 
Piincet  rater  tbe  hall  of  andiMice  followed  bj  their  piardif  vhofbf 
MDBS  momcnlt  line  the  itage,  and  place  tbeimelvei  in  onler  to 
panidei  but  as  a  secret  conJercncs  U  ddwmined  on,  the  Prinea 
ianMdiald/  ditnuMei  his  ntdlites,  and  even  wbile  Ihejr  are  depart* 
ing  the  lecret  conference  commencn.  At  oilier  timea  a  icene  ii 
mnile  ridicnlani  tl»  poreil;  of  the  apectade.  In  order  to  repre- 
sent nn  arm;  or  a  batllct  aome  dosen  of  Mldlen  are  made  to  delile, 
and  in  order  (o  conceal  from  the  spectators  the  paucilj  of  Ibeir 
numbers,  (bey  go  out  sevwal  times  o.ie  tide  sceiie  and  enter  by 
anotlicr. 

Qui  it  wuald  be  tadiont  to  mention  all  the  incoagiaiUet  b;  which 
a  spectadc  '(whkh  might  be  imposing)  becomea  a  ridiculous 

NotwitUaBEliiig  tbsse  shodiing  abiutdltiet,  ttia  opera  eometimet 
prwawliwi  anohantliig  boUtad  scene,  which  causH,  is  socae  degree, 
tobefei^ten  that  this  fine  q>ectacle  u,  in  man j  of  its  parlt^sofar 
lenoTed  from  naturv.  Exceptiuis  of  this  kind  lead  tis  to  imagine 
bow  far  it  would  surpiM  everj  olhtt  if  it  wore  treated  irlth  all  the 
art  it  requires ;  and  one  regrets  (liat  SRch  paUutic  picoei  should  bo 
drowned  in  so  many  absardities. 

One  of  tbe  roost  essential  paints  would  b»  to  bsve  a  good  poet, 
wlio  without  regard  to  llie  singers,  should  writs  a  tei^^y,  the  snb- 
ject  and  style  ot  which  should  conform  to  (he  tderatlonand  sentiment 
of  the  Ijric  stage.  Any  subject  would  be  suitable,  proTided  its  pro- 
gress  were  not  too  rapid,  nor  the  incidents  too  complicated.  Tlie 
progress  must  not  tw  ra|»d,  because  this  progieauon  is  contrary  (o  the 
nature  of  aoBg,  nAich  suppoM*  that  one's  course  is  arretted  by  the 
sensatioof  vliiob  give  birth  to  that  diapodtim  In  wUob  singing 
sppean  natuiaL  Complioated  inoidnta  are  still  mme  contiary  to 
the  nature  Of  song,  becaase  In  such  case  reason  rather  than  sentiment 
bcmplojed.  When  yn  form  projects,  concert  plans,  or  deliberate, 
ire  are  {&r  removed  from  tbe  disposilbn  necessar;  for  singing. 

The  poet  who  writes  an  opera  ought  to  diOer  from  a  tragic  poet  in 
so  far  tliat  lie  does  not  represent  a  complete  action.  Grerj  great 
etent,  and  even  an  agreeable  incident,  provided  it  gives  rise  t»  many 
seasations,  may  famish  a  subject  ptopet  for  an  opera,  if  tbe  poet  is 
able  toplace  thawfcoleniider  toch  aptriirt  of  view  >a  to  inlnidnce  a 
svOdrnt  nnmbw  of  difbcent  penose,  Inspired  by  varions  settttmeats, 


ISi  ott  THE  coHsntDcnoM  or  oHra's. 

knd  wlio' DMj  luivetiiedme  la  larmi'der  (liemielve*  loihoieMRia- 
tiona,  and  to  maaifint  th«m.  An  opera  of  thii  kind  notild  doubtleu 
be  a  dramatic  work  in  a  new  stjle.  Betidee  real  erento,  eterj'  pett 
loleninilf,  everjr  remarkable  fele,  woidd  furnish  a  lubject  orihti 
tort.  Bj  tho«  freeing  l!ie  poet  from  llie  fctlcrs  nftcn  laiil  on  hira 
by  the  composer,  singer,  and  sccnc>pninlcr,  and  bj- preeciiliitig  lo 
him.  this  simple  rale,  lit  observe  the  unity  oflbc  nclion  and  to  ticnl  it 
as  a  lyric  poet,  be  iniuld  easily  find  the  means  of  aroiilin^  Ilic  u^ual 
unirormily  of  the  airs,  duos,  and  Irios.  One  einmple  ivill  sorvp  (<> 
explain  all  we  have  jiisl  observed.  Prince  Detnelrius  Casimir  relate^, 
in  Ills  History  of  tllcOsmans,  lli»t  Sullan  Murad  IV'.  nl  tUc  taking 
tlic  town  of  ilngdad,  gnve  liie  cru.-l  ordiT  (o  mnssarrc  all  llic  infinlii- 
tnnls.  During  ihis  liorrible  rarniigc  a  Persian  musician  obtainid 
from  the  officers  of  tlie  Sultan,  pcrmisaion  lo  nppcnr  in  the  Prince's 
pretcncecmoe  more  before  his  death.  Murad  having  commanded  liim 
to  give  a  proof  of  hit  abilities  fn  mnth^  the  mntidan  took  s  adiesohta 
(a  flpe«ia  of  psaltery)  to  accompany  a  plaintiTe  Mng  on  tlmtakii^ 
of  Bagdad,  in  which  he  adrolfly  inb^nced  the  praise  of-Hnnd.  He 
performed  it  nilh  so  agrcmble  a  Tolce  and  with  so  much  ikill  that 
tlrc  Sidlan  could. not  restrain  his  tears,  and  issned  mders  to  pardon 
the  rest  of  tlie  inliabit^nls. 

.This  event  migJil  very  nell  form  (hcsubjccl  of  an  opera.  The 
poet  conid  clioose  a  pl;icc  in  lia^dad  «iicrc  might  be  assembled  Ibo 
■nosioian  jnsl  menlicined  uifh  liis  family  and  friends,  or  some  of  the 
distinguished  inhabilanis  of Ibe  city,  wuiting  Ibc  terrible  cafnslToplic. 
Jtwould  be  easy  lo  imagioe  some  motive  for  nssi'mbling  also  on  the 
tinge  women,  young  men  nnd  girls,  in  order  lo  give  greater  varieij 
(othe.action.  The  mosicianwlto  plays  the  principal  part  diacovers 
lo  liis  friends  who  aro  tormented  by  fear  and  terror,  tbe  means  by" 
wbisb-  he  hopes  to  save  Ibem,  and  he  departs  (o  execute  his  project. 
Fear,  hope,  and  other  sentiments,  animate  the  persons  who  remain  on 
thestsgc,  and  the  poet  should  bestow  on  each,  Inngnagc  analagons 
to  the  characters  he  supposes  these  individuals  to  possess.  They 
learn  that  (lie  saltan  lias  perailKed  the  musician  to  be  conducled 
l!i:rure  him;  otif  is  :iiii[in(i'd  by  the  hope  of  success ;  another  has 
recoLLrse  lo  piaj  er,  in  ^ulii  il  from  heaven  a  favourable  issue ;  a  third 
dc^[i^iiiing  of  safety  and  rc&igned  lo  inevitable  death,  already  takes 
leave  of  liis  friends.  Tlie  poet  may  Ihco  transport  the  spectators  to  - 
thetentor  palace  where  the  saltan  intends  to  bear  the  knnsicianj  hf 


ON  THE  CONSTRUCTIOK  OF  OP[^RAg.  ISS 

nny  repteunt  the  Inltn'  liogiDg  in  plaintive  accenia,  and  tbc  sultan 
filt«]  wMli  emotion,  pronouncing  (lie  order  of  pardon  to  the  rM  of 
tba  Inbabllanti ;  in  iboil,  the  content,  jay,  the  grftlllnde  of  IhoM 
laved  ffom  death,  voald  offer  to  the  composer  subjects  fur  recitatives, 
■do*,  ani)  chorusses  of  great  cRect.  The  author  of  Anacreon  chn 
Pofycrale  bai  in  some  degree  imientctl  lliis  subject,  but  bsa  bappilj 
in  emploj'lng  the  cfTects  of  music  to  iliaarm  the  rigour  of  a  father 
■gainst  two  jonng  lorerg,  and  &1scly  oKributiiig  tbig  action  to  n 
penon  vho  is  too  celebrated  to  allow  it  (particular]}'  unauthorised 
bj  tiadilton)  to  be  added  to  hii  hislorj. 

A  man  of  genius  might  certainlj  find  iaar\y  fit  Kubjects  fur  operas, 
without  having  recourse  loiiny  oflhose  absutdilics  nhichso  frequently 
deface  thcro.  The  music  isgencrallj  too  Aoncrj,  and  fno  artiflcial ; 
eom posers  so  ardently  seek  for  the  agreeable,  that  the  strength  of 
espreision  is  abcolutri;  lost.  It  b  vitbont  contradiction  a  great  aboto 
to  orBAmoit  o  melody  to  aucli  a  polol,  tiiat  instead  (tf  one  or  two 
notes  there  are  fonr,  six  and  eren  dghlfor  onesyllable.  This  abnse 
donbllm  arises  from  the  incon^idcmte  desire  ofsingeVs,  to  introduce 
into  nil  airs  lucb  changes  ai  mnj  denote  the  extreme  flexibility  of 
(beir  voices.  After  it  was  perceived  that  a  melody  had  more  energy 
smlviTacity  when  not  performed  altogcflier  moriDloiioiisly,  but  by 
making  some  additions  and  by  accompany iiii;  llicni  sumdiints  with 
cadences,  singers  carried  iltoan  abuau  and  cbani;ei!  aliu^sl  every  uote. 
Composers  (ben  felt  that  tbts  did  not  always  agree  wilb  (lie  liarmiiny 
of  (he  whole,  and  judged  it  expedient  for  tbeniselres  to  proscribe  the 
omoments  they  might  allow ;  Uie  singers  were  not  to  be  so  coatentcd, 
and  composer!  yielding  to  the  influence  of  bad  taste,  introduced  into 
their  score  so  many  ornaments  and  riffioramenli,  that  frequently  I- 
lablei  and  CTsn  words  became  nnintelllgible. 

It  is  desirable  (hat  Ibis  abuse  shonid  cease  and  that  music  be  rcdnced 
to  greater  simplicity ;  that  its  principal  sirenglli  should  be  sought  in 
the  true  expression  of  sentiment  and  not  in  gruiips  of  noles.  In 
pieces  where  tbc  subjects  are  simply  graceful  and  where  the  sentiment 
is  sftmewbat  voluptuous,  these  passages  might  bo  permilted,  but 
aiHtlici!  to  serious  and  pallicllc  emutiuns,  IJipy  are  generally  nbsun), 
huwcveragreeably  (hey  sound  upon  llie  ear.  The  numerous  rnntaJKa 
whicii  return  on  several  passages  in  most  airs,  and  often  on  each  vowel 
tlut  will  allow  it,  is  a  license  so  generally  permiKed  that  (he  public 
fi*qUeiiUy  pays  no  attention  to  a  singer,  but  in  ptopoition  to  hit 


184 


ON  THE  COMRMICTIOM  Of  OnUIA*. 


lAlent  for  KUcutiDgUiMediSciiIlie*.  Ilii  ilntnbls  that  compoKis 
sitaulil  not  10  serfiluly  follow  the  received  form  of  airs,  but  on  Ibii 
point  admit  loine  variety.  Why  always  a  ritornel  when  it  ii  not 
neceuary  i  Why  always  a  aecond  part, BOmetimcs entirely  oppotilc 
to  the  first  allhough  oObring  the  same  Benliment  i  Wliy  diviiJc  Iho 
two  pacts  by  asymphony,  and  repeat  the  first!  In  cerliiin  cases 
this  may  be  sailable,  but  it  would  often  be  belter  to  make  a  change 
ia  this  respect.  The  arioto  which  has  frequently  so  good  an  effect 
and  the  accompanied  recitative  are  a!moit  entirely _t»niibed  from  tbe 
opera,  so  that  between  tbe  simple  recilative  and  the  most  finifhad 
air,  there  is  no  longer  nn  intermediato  style.  Wo  cannnt  conceive 
irhjr  the  dominion  of  muiic  has  baen  to  taaek  letKucbed  in  tbU 
'ipccbuite. 

The  distribatioo  of  tbe  sceno  and  all  that  relate*  (o  decoration  and 
costume,  are  impartaiit  in  every  species  of  drama,  but  principally  in 
the  opera.  A  moderate  opera  may  produce  the  greatest  efiect,  when 
tbi*  department  is  attended  to  and  the  beat  becomes  tircsoiiie  when 
neglected.  A  solemn  silence,  a  dark  and  gloomy,  or  magnificent  and 
■umptnoassceoe,  tbe  entry  of  perwni,  their  position,  their  dress  and 
all  that  relatea  to  the  exterior,  and  agrees  with  characCer  of  the  scene, 
all  Ibese  untied  particulara  so  excite  tbe  mind  of  tlie  spectator!, 
that  but  a  small  impulse  ia  required  to  rouse  their  pasaioni  to  tkt 
highest  {utch.  It  may  thus  be  imagined  that  the  opera  onght  to 
tnipasa  every  other  vork  of  art,  relatively  to  tbe  strength  of  il« 
imprenioa.  Tbe  eyea,  ears  and  the  unagination,  all  tbe  otgaaa  of 
psMion  are  affected  at  once,  the  acoeHory  detoila  whlcb  cootiibtUeM 
much  to  tbe  desired  impression,  require  thereibre  lerloDa  and  aitfnl 
contrivance. 

Thcarchiteclund  piilnd'i  i^iioiild  he  men  of  real  taste,  artd  at  each 
change  of  scene  Ihty  slioiilil  cHileriviiiir  to  assiit  the  proposed  end  of 
the  poet.  They  should  laitliliilly  observe  the  cosfume,  in  order  that 
the  eye  may  be  pri'iiarcil  bdore-hnml  for  whiit  tlii,-  ear  is  to  receive. 
Tlic  opera  ul  I'iiris  ia  much  iuiprovcd  in  thi^  point,  aiUiougli  it  is  still 
far  removed  from  perfection.  The  bceiies  from  nature,  the  archi> 
tectural  plans  sbuuld  all  be  taken  from  llie  sciilimeul  of  the  piece.— 
A  conntry  or  view  may  render  us  happy,  joyful,  tender,  melancboly 
or  timid,  Ihe  same  sensation  may  be  produced  by  tbe  elevation  of 
edificea,  or  tbe  dialributioB  of  the  interbr  of  apartrotnts.  TIm 
aidiiteet  and  tbe  painter  nwy  tbnefore  prepare  for  the  poet  tbe  way 


'  OIT  THE  COKtTRUCnoit  OF  OPERIB. 


(othe  b'eait  of  (he  spectator;  but  ihcy  must  severely  ntllierR  lo  ilic 
ralrt  he  hat  preicribed  lo  Ihcm,  Ihcy  must  refrain  from  inlcrmiiigling 
insignificant  abjccis  jolelj' to  flail er  llic  cj  e,  nor  must  Iliry  seek  lo 
sarpriw  effecd  conlrar^  I o  received  opinions.  Tiie  costume  of 
Ibii  draraatis  penonie'  ii  alni  of  great  imparlance  in  protluc1n;e:  the 
detired  eBed,  and  itii  absurd  onlj  toendeATourtodazzlcby  richncu; 
neralheleu  'tfab  iibnttoooflen  tlie  case  in  oar  tfaeolm,  where  mag- 
nffiamce  k  Uodied  mtberlban  Iratli. 


NBW  Latent  for  an  improvement  of  the 

'      PIANO  FORTE. 

M  r:  STODA-if-r,'nrCA>lthn-t^i]aTe,  LUnilon,  it  neTt  known  ag'bcing 
't)teinvefitoT''ofnt'UprI^htPtBnt>F6rf^,and  he  hna  la  IrTj^  pare  hated 
fnHD  MeMTs.  TnoH  and  Allen, two  arhiBiiorkmen,thelTintcrcs(ln 
a'palent  for  an  tngenldttfconiHvAtice  to  prevent  those  fluclitatiohs  in 
file  pitch  orittingt  wHi jb  hrlse'froht  change  oFniniosphefIc  fetnpertt- 
toTe.  The  ideais'iIAlpIeahd  pliilosophical,  and  has  been  long  &inee 
applied  to chronbmcters,  though  !fs  operation  In  lliosedulicnd'  iiiitru- 
mcnts  is  tlie  reverse'  of  thitt  lo  which  it  hnt  now  Ijcen  (nrned. — 
TTie  pHncipIc'thon  is  to  comjieninle  the  nMiiml  expansion  of  strings 
Ihrongh  lieatorlheirconlr^iclion  lliroiipph  cold,  by  providing  an  ivp* 
paratas  possenini;  the  name  pmprrlif-s  asflie  strings  themselves,  I'ipo'n 
wbrch  ihey  ne  stretched.  To  this  intent  a  plate  of  brais  is'  laid 
mr  (he  beRj  of  (he  jnttrument,  of  about  two  iRchet  wlile,  and  cor- 
tetponding  in  ahape  'trith'and  pineed  dose  to  the  coined  aide  of 
■ralnitneiit;  totiiblbristriiigs  arefetfenedintheiuaalHaj-.  Th'ebar 
wbtch  conililulet  (he  front  is  fixed  in  its  place,  about  nine  inches  from 
the  front,  by  iron  cUmps,  which  preclude  its  moving,  and  under  this 
bar  the  strings  pau  lo  the  pegs,  as  is  customary  in  other  piano  fortes. 
Within  thitfranie  and  parallel  tothesliings,  but  above  them,  are  placed 
(ubei,  abont  (iiiceqUafteraof  an  inch  in  diameter,  of  a  similar  metal 
lo  the  string  beneath,  i.e.  brass  above  the  brass  and  gfecl  above  the 

VOL,  III,   MO.  X.  B  b  J 


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ateel..  One  end  of  Iheae  tubeaii  placedagdnsttbe  ouTTedudeof  tlie 

frame,  tbc  other  agninst  tlie  etraigbt  bar.  Thej  are  prevented  from 
(ising  or  curving  upwards,  through  the  stress  of  the  tension  upon  Ibe 
Efring,  by  stout  bars  of  wood  Inid  across.  The  effect  conteinplated 
in  this  construction  is,  that  as  the  temperature  alTectilhestringB  either 
by  expansion  or  cootraclion,  it  will  also  affect  the  tubes,  which  ex- 
lending  or  relaxing  consculaneouslj,  as  it  were,  with  the  etringa,* 
will  Gorapensale  the  difference,  hy  allowing  the  whole  frame  to  coin- 
cide with  their  action.  The  only  conjecture  unfavorable  to  this  pro- 
ject which  reaspn  iHggesti,  appears  to  lie  in  the  sire  of  the  different 
manet  of  metal  to  be  acted  npon  by  heat  and  cold,  but  experiment 
has  dctenniiied  that  ths  expantion  and  contraction  of  the  la^er  and 
the  ■mailer  body  m  to  nearly  alike  a*  entirely  to  aniwcr  the  pur- 
pose. A  grand  piano  has  been  removed  from  a  low  to  a  high  tem- 
perature, and  back  again,  without  undergoing  any  perceptible  dif- 
ference in  the  [lilcli,  or  going  out  of  Inne  in  the  smallest  degree. 

In  aildiliuii  to  this  the  main  purpose,  other  benefits  are  found  in 
the  facility  itafi'orils  in  tuning,  and  in  the  superior excellenceof  (he 
tone,  which  is  improved  both  in  yolnme  and  qoalily.  Tbb  drcum- 
ttance  may  be  traced  cither  to  four  wpaiate  aaUMt  to  a  combi- 
nation of  them  all. 

I.  From  the  whole  tension  of  the  strinpbetag  taken  off  (he  loand- 
ing  biianl,  which  is  IIlus  left  to  a  free  and  OBtnial T>bration.  The 
proof  is  to  be  perceived  in  the  longer  duiBtion  of  (he  vibration  in  an 
instrnment  of  this  constrnctioD,  vhen  tlieiUiiigaBre  ■Uonk  and  Uib 
dampen  taken  off.  This  dumtioD  exceeds,  bf  alrooit  one  thirds  the 
length  of  time  which  piano  fortet  npon  the  old  plan  continue  their 
sonud.  In  slow  movements,  the  tones  therefore  synropate  or  connect 
themselves  much  more  beautifully. 

3.  No  braces  are  required  to  strengthen  the  instrument.  A  great 
weight  ofwDotl  is  therefore  removed,  and  the  body  of  the  pianoforte 
remains  bollotv,  ivhii:li  certainly  improra  the  tone.  , 

3.  The  tubes  themselves  may|by  tl^icjrlindiical  f(Km,add  to  the 
augmentation  of  the  tone. 

*  It  is  an  o{Hnion  commonly  lecdred  Hat  strinn  will  itretcb  litooA  indefi- 
nitely it  the  tension  be  conducted  slowly  and  graonsUy;  but  this  doctrine  is, 
webeliere,  contradicted  fay  ftett.  Strlngi  hutDgaadNfonaaeertsin  depot 
are  lucepfible  of  no  furtlier  tewioik 


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KEW  PATBRT  VOB  THS  rilMO  VORTE. 


187 


4.  At  there  be  no  itr^n  npon  the  bell;  of  (be  iiutrnment,  it 
irill  be  more  likel;  to  continue  to  preKrre  ita  ori^nal  kvel  ahap^ 
ead  lelaia  nndiminislwd  iU  power  of  Tibntion — a  oiroumstance 
wbicb  cannot  &U  to  add  to  the  darabUitj  of  the  itutrnment,  far  in  a 
aix-oclBve  grand  piaao  forte  the  pull  upon  the  strings  ia  at  least  equal 
io  the  prodigious  weight  ofeix  tons  and  a  half. 

Such  are  the  benefits  wliich  this  invention  confera;  and  these 
gentlemen  have  thua  given  another  proof  of  the  odranlagea  to  be 
dariral  from  a  iclentific  application     ^iloie^hy  to  the  mecba- 


186 


/.  Sacred  Melo£u.—A  Coikelion  of  Pstdmt  and  Hi/tmt,  ampoted, 
ttkcied,  and  odapled  for  Diane  tVorskip,  by  Thmnta  Bennett, 
Organist  of  the  Cathedral  Church,  and  the  Chapel  of  Si.  John  the 
Evangelitt,  Chkhaler. 

II.  A  Ccdhriian  of  Old  and  New  Psalm  Tunet,  ttilh  FJgurtt  for  Hie 
use  of  those  znho  hate  staiBed  Thorough  Bastf  eouUdning,  asmmg 
others,  those  which  are  sung  at  St.  Jamet's,  Jfatmtiuler ;  tdedei 
and  composed  bt/  J.  F,  Burrowes, 

HI.  National  Pialmody. — A  Collrction  of  Tunes,  jsiih  appropriate 
St/mphonies,  set  to  a  Course  of  Psalms,  selected  from  the  New 
Version  bi/  the  Hev.  J.  T.  Barrett,  M.  A.  for  the  serrices  of  the 
Umled  CiaiTehei  of  Epgfimd  and  Irdandf  ig^tUcabk  to  the  pro- 
per  Lenom,  EjAtlet,  and  Gotpd$.~The  mate  karmoitited,  af 
roRgirdj  and  adi^led  iy  B.  JaaAf  siU  original  CompoMsmt 
bjf  kirn,  widteoeral  of  the  moll  Eiament  Profiitorf  To  xMiA  are 
added  Chaalt  fir  the  Te  Deum,  JtMcde,  and  Mher  parts  of  lie 
Mortung  arid  Etemtg  Serriee,  aith  the  uordt  at  length. 

IV.  The  Seraph.— A  Collection  of  Sacred  Music  suitable  to  PuhSe 
or  Private  Devotion ;  consisliiig  of  the  most  cekbnkd  Psalm  aad 
Hymn  Tunes;  itilh  seltclions  Jrom  the  iroi7.j  of  Handel,  Haydn, 
Mozart,  Pleyel,  and  fa-uiriie  English  and  Italian  composers — 
adapted  to  words  from  Milton,  Young,  Watts,  Addison,  M'eslei/, 
Mt  rrick,  Comptr,  Henry  Kirte  White,  Dr.  CoUyer,  *c.  S.-c.—To 
which  are  added  many  Original  Pieces,  composed  and  the  whole 
amazed  for  Four  Vacet,  with  an  Accompatdmad  for  the  Organ  or 
VioloaeeUot  by  John  WIdlaker. 

By  llie  admirable  economy  ofour  excellent  Cliurch,  her  cougrega- 
tions  arc  made  iniporlant  acton  almost  thcougbout  (he  whole  of  her 
service.  Wb  do  not  go  to  hear  mass  only,  like  the  Rotnaniilc,  mi 
like  lh«  Distenlen,  to  Utten  to  long  prajrers,  atteted  oulj'  hj  Ibe  Offi>- 
clBtmgHiuUer;  bat  we  ue  called  on  to  take  an  octiTC  and  proml- 
nratputin  the  Oivine  Office;  and  the  Print  hidudf,  in  bund- 
dmua  and  adjaratu»i<,  Menu  baidljr  man  necMSBij  than  the  peo- 
ple who  repljr  to  him. 


Digtltzed  by  Google 


Digiikzed  B/Coogle 


2 


IS 


UIgiiizBd  by  GdOgle 


Digmzfld  by  Google 


Digiii;ecl  Oy  Google 


ilL;i3d  b/Guogle 


Tbe  iu]Tan(agej  of  thii  iikmIc  of  public  ivorsliip  have  been  so  re< 
peiitedlf  pointed  out,  by  persons  lai  more  competent  to  such  a  task 
tban  we  are,  Ibat  we  tball  not  presume  to  dnell  on  them.  Indeed, 
wc  should  Dot  have  loucbed  on  the  subject,  had  it  not  been  for  the 
puipose  of  obserriag,  Ibat  the  Bjnem  of  psalmodj  which  fau  grown 
up  among  us,  seeros  to  have  bad  its  foundnlion  in  the  tame  wiie 
piinciples  which  have  originated  and  which  goveia  the  whole  of 
onr  truly  Sctiptunl  liturgy. 

There  are  01007,  ^  awaiv,  who  raise  powerful  objectloni 

to  the  mtuitterof  pnlta-ringtngpiactlMd  Ib  oar  church;  and,  among 
thero,  none  U  more  entitied  to  be  luard  than  Dr.Bubitey. 

''*TheParitaDa,"taysIie, "  who,  daring  the  telgnof  Queen  Eliza- 
botb,  had  deroted  our  Cathednl  Serviee  (o  detimction,  and  who 
Kerned  to  wiib  not  only  to  hear  the  pialmi  but  the  whole  Scriptures, 
ay llabicallj  sung  in  metre,  assigned  as  a  reason  for  such  an  abuse  of 
teords,  as  well  as  annihilEitiun  of  pnelry  anil  niiisic,  lh<?  absolute  neces- 
iity  oEsuchasiinplekindofiniLsicasBouldsiiit  lliertAo/efOJigwgofnjn.  • 
But  why  is  the  whole  ccmgi  egiUion  to  sing  any  more  Ihim  preach  or  read 
praj/m?  Indeed  it  seems  to  have  been  the  wisli  of  illiterate  and  furi- 
(lus  reformers,  that  all  religious  ofGces  should  be  performed  by  field' 
preachers  tind  street-singers ;  but  it  is  well  known  by  all  who  read  tbc 
Scriptures,  or  bear  lliem  rend,  ttiat  bolb  singing-men  and  singing' 
women  were  appointed  lo  perform  distinct  parts  of  religious  rites 
among  the  ancient  Hebrews,  as  well  as  ChrislLmg;  and  it  does  not 
appear  by  any  pasaiige  in  tbe  bible,  by  any  thing  which  the  most 
ancient  and  learned  commeiitalors  have  urged  concerning  tbe  per- 
formance of  the  psalms,  or  by  rabbinical  traditions,  that  they  were 
all  intended  to  be  sung  . by  the  multitude  or  whale  congregatiou, 
indiscriminately. 

"  Singing  implies  not  only  a  tuneable  toice,  bvl  skill  in  music :  for 
music  either  is,  or  is  not  an  art,  or  sotnethiiig  which  nature  Hnd'iD«' 
tlinctdp  not  supply ;  if  it  be  allowed  thatiiilc,  study,  practice, -and 
experiencemay  at  least  beai  necesmry  toils  attainment  as  Co  thai  of 
a  mecbanicat  trade  or  calling.  Every  member  of  a  conventicle^ 
however  it  may  abound  with  cordwsinen  and  tailors,  would  not  pro 
tend  to  make  a  shoe  or  a'suit  ofcloatbs;  and  yet  o/j  are  losing.— 
Such  singing  as  is  customary  in  our  parochial  service  gives  neither 
ornament  nor  dignity  to  ttie  psalms,  or  portions  of  Scrlptare)  that  are 
drawled  out  and  bawled  with  that  unmusical  and  unmeaning  vehe- 
meace  which  tbe  satirist  has  dewribed ;" 

— —  So  swells  each  wind-pipe — 

Siioh  as  from  lob'ring  lungs  enthusiastic  flows. 

High  sonod,  )ittea)pet*d  (o  Ibe  vocal  nose. 

Dmaad, 

"It  cannot  be  fiirtbesakeof  the  seatiraents  or  instractioni  which  (be 
woedaoaiUBm  I  theeenre  better  andenlood  when  read  by  the  Clergy 
man  and  Clerk;  end  why*  aftei  being  read,  tiiey  riwnld  be  lui^, ' 


190 


salen  music  is  anpposed  to  add  to  Ibeii  energy  or  enbcUiiliraeDt,  it 
not  eaif  to  discover."*— ifbloiy  ofJUmic,  g;  64, 65. 

There  are  psrb  of  tbe  tiaegiiSjig  extiact  wilfa  wbich  we  coidlalljr 
agree;  at  (be  same  lime  we  diHent  from  tbewriter'i  general  argu- 
ment, Bince  it  pioceeds  altogelber  on  tbe  abuse  of  psalmodj'. 

Wc  are  most  biiicctc  ioveri  of  choral  serrioe,  and  we  have  not  tbe 
ilighlest  inclination  to  be  dossed  wilb  "  illiterate  and  farioDS  Tefor- 
nien;"  but  we  ace  prepared  to  maintain,  that  none  buttbeuniio- 
nooa  or  psalmoilic  system  of  singing  can  be  adopted,  to  tbe  extent 
wtiicb  is  required  by  the  reformed  religion  and  ecclesiaitlcal  esta- 
bliibmenlB  of  our  country.  The  queation  appears  to  be  limply  this, 
■ball  Uie  people  at  large  pniie  God,  or  tfaall  Ibey  only  be  required 
to  attend  while  '^unging-iiieii  and  ainfing-wwiMo"  pcrfom  that 
doUgbtfiil  office? 

Wboeretbaa  reflected  at  all  on  tbe  comtilnUon  of  the  human  mind 
conaot,  .wo  think,  heiilate  tb  tbe  answer  which  nnrt  be  ^ven  on  thb 
occadon. 

By  prayer  we  are  properly  hnmilialed  and  brought  low.  Serious 
and  devout  prayer  impreuet  us  with  a  deep  conTictton  of  our  onn 
tinful  and  dependent  state ;  therefore,  even  in  tbe  exerciise  of  public 
worship,  persons  of  the  greatest  devotion  and  sensibility  withdraw, 
as  it  were,  into  themselves,  and  seek  tlie  solitude  of  their  own  hearts, 
to  make  tbeir  humble  confession  before  Almighty  God. 

Praise  and  thanksgiving  produce  in  us  a  very  opposite  frame  of 
mind.  Tbe  gloriea  and  exalted  attribntet  of  tbe  Creator— the  mer- 
dea  and  the  ineatim^e  banefiti  which  be  baa  conferred  on  faii 
creature^  are  (hen  let  before  ns';  all  the  moil  delightful  feeling*  of 
out  nature  are  excited ;  love,  joy,  and  gratitude  glow  within  oar 
bosonu;  a  holy  flame  kin  dies  in  our  hearts,  and,  fi>ra  time,  m«(al 
man,  in  sacred  unison  with  his  fellows,  has  a  taste  of  that  hap^neis 
which  is  enjoyed  by  tho  blessed  in  heaven. 

Now  we  think  it  would  be  improper  and  cruel  to  exclude  any  one 
from  the  pleasures  which  flow  from  tbe  exercise  of  praise  and  (haaks- 
giving,  because  he  does  not  possess  "  ski/l  in  music."    Nobody  pre- 

■  "  In  miny  conTenticlei,  and  eien  pirish  churches,  each  line  of  a  psalm  ii 
pronounciNl  aluud  by  tbe  clerk,  liefore  it  is  sung  by  tbe  congrGgatian  ;  wbich 
If  confeiiing  that  eren  tlieir  own  syllibic  and  unitonou  singing  is  not  suS- 
denllv  plain  to  Tender  the  words  fotelligilils;  and  indeed  thtj  «re  more  di»- 
gidsed  and  Injured  by  pnfanDfic  rin^afthan  bj  Oe  oust  rapid  aadarflicial 
eanfilena  of  florid  seng.'' 


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191 


tends  to  aaert  UikI  a  luowledge  of  docution,  or  even  of  grammar,  is 
Decenary  to  enable  a  nan  to  njr  bU  prayers  publicly ;  Ibenefbre,  ^ 
tbeMoaAL  efot,  and  not  Uie  hviioai.,  is  the  chief  Ihing  to  be 
atfended  to  in  all  tliat  coDcems  religinns  duties,  we  may  safely  affirm 
that  any  one,  with  a  sincere  and  grateful  hcarl,  is  competent  to  join 
the  Church  in  "  hymns  devout  and  holy  psalms." 

But  we  are  also  of  opinion,  that  "  nature  and  instinct"  do  supply 
most  persons  with  sufficieut  musical  art  for  the  purpose  ire  now  have 
in  vien.  Feir  indeed  are  born  with  so  little  voice,  oi  willi  organs  of 
hearing  to  obtuse,  as  not, to  be  able  to  catch  (hose  simple  mrlodies 
vbicb  OUT  serrice  lequirei.  And  vhat  is  that  incenant  imitation  of 
each  othei'a  singing,  -ffhlGh  ereij. where  prenils  among  mankind, 
bat  a  apedei  of  education  i  locoirect,  troly,  and  Imperfisct — but 
■nffideni  to  enable  the  most  itUtenle  to  join  in  die  ofiee  of  thanks- 
giving directed  t^^  the  Church. 

To  Da.  BvaHBT's  qnefltion^  "  Why  is'tfaewfa<^aHipegati«i  to 
sbg,  any  more  than  to  preach,  or  read  prayers!"  a  rely  obvious 
answer  may  be  given.  The  whole  congregation  may  be  required  to 
sing,  because  that  is  possible — but  the  tehote  congregation  is  not 
allowed  to  prank  nor  to  read  prayers,  because  that  is  Impossible. 
We  might  odd,  without  any  fear  of  t>eing  thought  captious,  that 
the  coagi^ation  do  read  occasionally  :  tliey  may  fairly  be  said  lo 
read  in  all  the  responses  which  Ihcy  mabc  to  the  Minislcr,  anil 
throughout  all  the  confessions  and  supplications  in  which  Ifacy 
accompany  hka. 

If  what  we  have  ventured  toabserrebeoomof— if  it  beddighUal 
to  sing  praises  to  U>e  V on  Highbit — and  decent,  and  proper,  that 
everyone  should  join  in  the  holy  exercise,  to  the  best  of  his  nbilily— > 
then  the  sad  abuses  which  have  prevailed  and  nhich  now  prevail  in 
oui  national  psalmody,  furnish  no  reasonable  ground  of  objection  to 
the  system  itself.  They  call  on  na,  indeed,  for  reform  and  improve- 
tnent  in  that  system ;  but  they  do  not  necessarily  lead  to  a  rejection 
of  it. 

Nothing,  we  are  compelled  to  allow,  can  be  more  deplorably  bad, 
than  the  manner  in  which  the  mnucal  part  <tf  the  tervice  .of  the 
Church  of  Enf^d  is  nsnally  peiibrmed.  Lefl,aB  itistoo,«^len,  to 
the  natal  intonation  of  clerk,  to  thadiscafdant  screams  of  the'  paiidi 
children,  audio  the  seudesalioenoe  of  some  organist^  no  iwisaefieet 
can  be  conceived ;  and  we  folly  Bgiee  with  D«.  Bokmbt,  that 


192 


PSiLMOBV. 


sDcfa  Ringing  giTca  neither  oniRmcnt  nor  dignily "  to  pobltc  norslilp. 
To  wbatiathii  owingt  iMured^notlo  kity  defect  in  Uie  sjilem 
of  vimoHOUB  igtalmodjr,  wfaiefa,  «e  Kpat,  Ii  the  only  ijilem  which 
can  be  carried  inlo  execution  on  a  national  acak.  To  what  then  it 
thii  Owing?  Awnrfedlf  to  nothing  but  tbe  almoet  total  neglect  of 
Fmlmodj  hy  thcae  mJb  can  and  ought  b>  pmrnoU  it. 

Feeling  a  deep  inlemt  on  tbit  snbjecl,  Ibr  we  beliere  that  much 
roay  tie  made  to  depend  on  il,  wesfaBll  venture  to  offer  a  few  remailis 
to  those  Dienibets  of  our  admirable  Chorcli  Establishment  who  IntI; 
defire  its  adrancement  and  honour.  We  do  not  presume  to  enforce 
tbe  duly  of  public  praise  end  thanksgiving.  We  leave  that  ofEce  to 
'  be  executed  by  lliose  whose  talents  and  ac^uitenienls  more  particu- 
larly fit  (bem  for  :t.  But,  sappming  the  duly  to  be  acknowledged 
'  by  OOF  ROderii  we  will  not  hesitate  to  affirm,  tliat  in  no  way  can  it  be 
more  ^Sbcioally  performed  than  by  calling  in  thtf «id  ofmuuc  Ilia 
not  beie  oeceKarj  tegointoany  thinglikesdesoripfionof  tfaeelbcta 
pioduced  on  the  human  mind  by  mtiatcal  toanda,  for  there  are  few 
who  haTe  not  expirieiued  them.  We  are  all  aware,  howerer,  of  the 
symtrathetio  natdre  ofonrfeeHngs;  aad  do  fedings  are  more  tympa- 
tbetic  than  fh6sB  of  devotion.  He  must  have  a  hard  heart  who  can 
listen  to  prayer  and  supplication,  earnestly  offered  ap  to  the  Divine 
Mnjestj,  and  not  biniself  "  pray  with  the  spirit  also."  And  we 
would  not,  for  the  nniverae,  possess  the  temper  and  disposition  of  him 
who  can  stand  unmoved  when  his  fellow  creatures  are  pouring  out 
their  souls  in  songs  of  praise  to  the  Lord  of  that  Universe.  Few, 
we  would  hope,  are  of  so  unhappy  a  frame  of  mind  ;  therefore  it  ap- 
pears that  from  the  oultiration  of  Nalianal  Psalmody  no  inconsider- 
able advanlage  may  acctoa  to  lellglbn  itself.- 

If  any  should  be  slow  to  b^ere  fltla,  tiiey  mttt  certainly  admit, 
tbat  it  It  of  the  last  Importance  to  remove  from  onr  serrice  (be  re- 
proach and  ridicnie  to  which  it  is  (oo  often  exposed  from  the  present 
method  of  psalm  singing.  This,  we  are  convinced,  can  only  be 
done  by  the  saptrior  cltutes  of  the  eoTigrrgalioiis  tbemsehts-  So  long 
as  they  stand  aloof— so  long  as  they  are  loo  indiOercnt  or  too  bnshful 
to  join  in  this  part  of  public  worship,  so  long  it  must  languisb  and 
remain  in  its  present  lamentable  condition. 

Bat  we  look  for  better  things  from  onr  conntrymcn.  Thrir  perte- 
veringMd  in  ibe  puniiit  of  m  nuby  objwtt  wUcb  tend  to  genenl 
im'^TCmMtandilie  edffioatlDn  siid  conseqneot  faajqrfirtsB  irfthdr 


niLHODr. 


193 


poorer  bretbreo,  lead  n*  to  think  that  bereaflet  nothing, more  than  (he 

sLiggeslions  of  tlieir  own  heads  vill  be  nccnsarj  to  induce  them  to 
concur  in  a  work,  which  in  our  opinion  may  be  called  of  nalionil  im- 
portance. Most  CHrncstlj  abo  would  \rc  hope  tliat  our  fair  countrj- 
uomen  will  not  be  backward  to  lend  their  aid  in  so  good  a  cause. — 
The  great  diffuiion  ofmiuical  knowledge  among  them,  must  add  to 
the  prodigious  influence  which  Ihcy  have  on  all  that  relates  to  man- 
nets,  morals,  and  religion.  I'berefure,  as  it  is  from  them  that  we  ge- 
qerallf  obtain  our  first  religions  principlesi  at  it  is  from  thelrlips  Ibat 
our  own  sie  taugfal  to  niter  pisjer  and  piaEse,  we  call  on  t bem  now 
(o  come  forward  and  assist  in  compteling  what  thejr  have  so  happily 
begun.  And  let  no  one  imngine  that  her  example  is  too  insignificant 
to  be  or  use;  for  the  force  of  example  never  can  be  accurate];  esfi< 
mated.  To  the  glory  of  the  female  sex,  it  has  been  frequently  ob- 
Ecr?cd  that  they  arc  "  iiaturallj'  inclined  to  religion ;"  and  when  WO 
see  a  woman  ecriously  and  u  n  affected  I  j  engaged  in  devotional  exer- 
cises, we  are  Icmpted  to  cty  out,  with  the  Psalmisl,  "Thou  halt 
made  Hek  biil  a  little  lower  than  the  Angels." 

We  arc  cunrinced,  snch  is  the  atate  of  muaic  now  among  as,  that 
if  a  large  congregation  were  to  unite  in  singing  the  psalms,  a  cooii- 
derablc  proportion  of  its  nierobera  would  be  found  to  possess  some  of 
that  "skill"  which  Do.  BukhbT)  and  many  more,'  require.  But 
■nppoting  (hit  not  to  be  the  case,  and  that  the  majority  sang  by  eat 
only,  with  such  BdUtanue  at  they  could  derive  from  the  organ,  or 
'  from  the  few  among  them  who  were  acquainted  with  music,  even 
under  such  circumstances,  we  are  persuaded  that  the  cDect  would  be 
vastly  superior  to  what  it  is,  where  the  singing  is  left  only  to  young 
and  illiferate  children.  We  never  heard  a  congregation  of  adults 
sing  out  of  tune,  and  tune,  in  the  present  instance,  is  a  consideration 
of  the  first  importance.  Nnr  let  it  be  thought,  even  for  a  moment, 
that  such  apeTforraance  would  not  be  calculated  to  makea  most  pow- 
erful impression.  When  we  speak  of  effect  in  works  of  art,  we  only 
mean  to  apeak  of  the  impressions  which  those  works  make  on  us ;  and 
if  thoae  impressions  be  grand  and  elevating,  ne  find  it  imposiible 
to  call  tbe  at(  wbEch  bat  produceil  tbem  mean  or  dnpicable.  If  we 
apply  thia  obter*B(ion  to  Psalmody,  when  conducted  on  b  large 
■cale,  we  mutt  acknowledge  thai,  by  its  vastness  and  grandeur,  it 
compensates  us  for  tbe  abeence  of  many  other  qualities. 

As  a  mighty  lock,  rising  fron  the  rnvet  and  braving  tbeir  fiiiy.  It 
TOL.  III.  HO.  I.     '  '     c  c. 


PSALMOBV. 


a  more  noble  object  than  the  most  fioished  piece  of  statunrj,  bo  the 
unisooDUs  style  of  singing,  which  may  be  canied  to  an  extent  quite 
imprnclicable  for  a  choir,  fills  the  imagination  and  melts  tl_ie  heul 
more  than  the  most  curious  canlrifanccs  oFhariDODy.  No  one,  we 
think]  will  deny  this,  who  has  hod  Ihc  good  forluiie  lo  hear  a  numer- 
ous congregation  liing  our  admirable  church  melodies,  with  simpli- 
city and  devotion. 

Eariieilly  ihmi  Jo  ne  dcsiro  (o  sco  metrical  Pbalmody  canitd  to 
i(s  ulmost  i  xl.Til,  iiiid  l,i  llif  Li-lust  ctcgrcc  of  e»celleiice,  and  fur 
lliis  purpoii;  oar  luimblo  clioili  ^rt  iiou  tiinjloji'ii.  But  so  dtsirable 
an  objL'cl  can  only  b<:;ilcliiKVi'd,  as  i\e  before  observed,  by  the  exam- 
ple and  assistance  of  tbu  cjillglitcncd  and  educated  classes  of  the  com* 
mujiity.  Such  persons  must  not  suppose,  that  we  would  have  them 
lake  any  extraordinary  trouble,  or  put  litems^ ves  loany  great  incoa* 
vcnience  on  the  occasion.  It  would  he  enough,  were  they  lo  give 
their  protection  and  suidion  to  the  practice  of  psalmody,  bt  bmit< 
iNO  coBDiAi.t.ir  iM.iT,  and  by  totally  laying  aside  that  cold  and 
indifferent  nmnnrr  which  too  many  dbplay,  (bough  assembled  and 
met  togctlier  "  to  set  forth  the  most  worlt>y  praise"  of  God,  and  to 
ask  those  things  necessary  "  as  well  for  the  body  as  the  soul." — 
Were  the  custom  of  joining  in  psalm-si  iiging  once  to  become  general, 
a  salutary  effect  oa  (liose  more  directly  eaneerned  in  it  would  soon 
be  perceived.  The  clerk  would  become  less  obstreperous ;  Ibe  paiisU 
children  would  scream  less,  ajiJ  many  organists  roighl  be  taught  that 
they  are  required  to  attend  the  cbiircli,  not  lo  display  a  fiufitger, 
but  for  the  solemn  uiul  noble  purpose  of  adding  to  the  efficl,  and 
heightening  the  impression  of  religious  worship. 

In  these  respects  so  much  has  already  been  done,  in  Ibe  way  of 
real  iraproTement,  that  all  who  feel  a  sinceie  interest  in  Ifae  prospe- 
rity of  our  Church  have  the  best  encouragement  to  proceed. 

The  absurd  custom,  mentioned  by  Dn.  Bdbney,  of  pronouncing 
aloud  each  verse  of  the  psalm  or  hymn,  before  it  is  sung  by  the  con- 
gregation, is  banished  from  all  Churches  and  Chapcli  of  the  esta- 
blishment; and  ne  believe  that  the  good  sense  and  improved  taile 
of  the  dissenters  have  led  most  of  them  to  explode  it.  longer 
think  it  proper  to  ffrtnc/ out  each  note  of  the  tune  till  all  perception 
of  melody  is  lost;  neither  do  we  Ixael  out,  tilt  those  who  do  not 
eing,  but  are  compelled  to  listen,  imagine  their  seme  of  bearing  in 
danger.   With  many  onanists  n  more  simple  and  deconos  m^tbod 


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FULHODV. 


(Caecum  pan  i  men  t  prcv&ili.  WeniSDaloogeiiUnledunildiigiutal 
with  8i»iriihei  on  vnry  nolBt  nor  with  raw  {max  009  part  of  the 
indrnaent  la  analiier>  Above  all,  tlie  baibaroui  ihalte,  belween 
eoch  line  of  tbe  mwe,  ia  MA  a»tdtr~4,\teA  foe  to  taste  and  grammar ;  . 
and  it  bas  been  ducovered  that  (he  double  bar  should  be  eniplojeil 
merely  to  mark  the  divisioos  of  eacli  itrain,  and  not  lo  dcatroj'  the 
Mntc  of  nil  that  ii  sung. 

Another  pleasing  proof  of  an  incrcatiiig  atleiilion  to  psalmody 
(an  nttention  which  we  trust  will  liecomc  univer!>al  among  iieriians  of 
religious  habits,)  may  be  fonnd  in  Hcvcral  excellent  collcclioiit  of 
psaliDS  wliicb  hare  buen  publiihed  within  the  last  few  years.  Some 
of  tbote  coUectlau  have  furnished  ng  nilh  reflections  nhicli  have 
.  led  to  t&a  conpoaition  of  this  article,  anil,  as  our  introduction, 
we  fear,  bat  been  most  disproporlionatcljr  long,  vie  ought  at  once  to 
proceed  to  the  considcrnlluii  of  tliein  ;  neverthetesj  we  feel  it  still 
iiccessary  to  ofler  to  our  rcaiim  a  few  preliminary  observations. 

If  Psalmody  be  of  importnncc  in  onr  mode  of  public  worship,  it 
follons  of  course  that  the  composition  of  the  tunes  themselves  is  a 
nintler  of  serious  concern.  We  aie  aware  many  Ihinlc  that  nothing 
ia  mora  easy  than  to  write  a  psalm,  tunei  judging,  it  is  lo  be  pre- 
Bumed,  front  tbe  ihortncis  and  simpUcUi/  which  are  esseutially  ncces- 
*ary.  But  to  us  these  e^aundEd  quLditk-s  conttitute  a  teal  and  qonii- 
derable  difficulty,  which  c^ii  urd  v  be  fiiitly  overcome  one  who 
has  both  j^euius  ud  knowlvUgc  in  his  art. 

When' It.ia.oanidend  that  psalm  turns  oio  lobe  lung  by  a  num- 
bez  of  panoUi  Ui«  nnior  part  of  irjiain  nay  be  quite  nuskillcd  in 
miiaio,  it  is  clear  Ifaal  Ibe  melody  tbould  be  of  the  moatiimpla.Icind. 
Nu  cbromatic  progressiolu  sbould  have  pbpe  in  it;  tince  it  ii  not  lo 
be  espeoteil  that  they  can  intonate  thwn  Dorrectly  who  sing  only  by 
ear.  Neither  should  tlie  composer  clothe  hu  mdodiea  with  abstruse 
harmony,  since  nothing  ia  more  likely  to  embarrass  his  unlearned 
performers.  By  this  time  we  have  narrowed  the  composer's  sphere 
so  inuch^  that  none  bat  he  who  is  very  well  skilled  can  move  in  it. 
There  it  yet  anoilier  consideration  paramount  to  all  the  rest,  and 
that  is — the  general  style  and  character  of  the  composition.  To 
decide  what  these  ought  lo  be,  we  have  only  to  consider  the  purpois 
fiir.  vrhich  such,  oompoiition  is  in  [ended-— namely]  the  service  of 
God..  .!  ■  ■ 

He,  whsie  i9ir!t'iiraiL-"^diii8d  np"  among  tbe  luaelifesof  old. 


196 


brought  ilic  mut  pnohxia  inbituoesibT  Ous  km  of  (he  IidIj  Uiecna- 
cle;  and  if  costly  ncHAcei  toe  not  required  for  oar  temple^  we 
should,  least,  vhen  la  it,  caKfally  guard  Bgaintt  all  anbecoiBing 
Bsiocialions,  and  resolatelf  pntawaj  all  things  *'whiob  0BiMid:"  aU 
thtogs  wliicli  are  common,  or  lov,  or  Tolgar. 

Wilh  these  impresBions  on  our  mindi  we  must  say,  that  the  finest 
models  of  psalmodjr  arc  to  be  found  amongour  old  writer*.  PoacELi^ 
Blow,  Ckoft,  and  others,  have  lell  specimens  so  admirable,  that 
he,  who  in  cuniposilioa  caa  approach  them  i^i  fortiinale;  to  excel 
them  wc  think  quite  impossible.  Thise  tunes  are  cliaefe  and  im- 
prcwire,  their  harmony  simple  and  effective.  They  lead  to  no  low 
Of  di^nsting  ttaini  of  thougbt  t  Ihejr  ntva  bring  to  am  mindi, 
^wbile  we  are  tnading  the  borders  of  (be  sanctmryt  Mogi  Mug  ia . 
our  tbeatres,  nor  ballads  Todfetated  at  (be  coneAi  of  Our  itteels'c 
in  a  word  they  are  always  devotional,  and  tVeqnently  mUtine- 
'  Having  thns  briefly  ei|daiDcd  oar  nolUm  of  irbal  sbooVI  be  the 
characteristics  of  psalmodlc  composition,  onr  readers  will  be  better 
prepared  to  accompany  ns  in  a  review  of  the  works  mentioned  in 
our  title. 

Ma>  Bennett's  selection  is  made  (in  general)  with  much  judge* 
menl  and  good  taste,  and  his  InmIc  is  printed  in  a  pteasing  and  ere- 
ililabli:  maimer.  The  poetical  selections  from  the  psiilms  consist 
chiefly  of  the  belter  parts uf  Tate  and  Brady's  version,  with  some 
few  extracts  from  Sterhuold  and  Hopbihs,  and  Hebkick.  In 
selecting  words  for  the  hymns,  the  wriltnga  of  Adduor,  Hatlet, 
HBBftioK,and  BisBor  Kehn,  appear  to  hm  bMn  snost  Aieqiieally 
consulted. 

That  poitloD  of  Mn.  Bbnnbii's  musical  selections  vrbieh  we  most 
admire,  is  taken  from  the  works  of  the  fine  old  masters  whom  we  have 
lately  named ;  and  we  do  not  call  (o  mind  any  tune,  justly  popular, 
which  may  not  be  found  in  one  of  the  three  parts  (bat  constitute  the 
selection  Ijcfote  us. 

Much  cannot  be  said  for  the  modem  compositions  of  this  work: 
the  best  melodies,  perhaps,  are  those  composed  by  the  Editor  him- 
self. There  u,  however,  in  all,  a  want  of  that  grave  and  devoliooal 
style,  which  so  highly  distinguishes  the  mors  aacieat  tunes.  Da. 
Hayes's  cempositions  are  remarkably  pow  i  aad  he  luu  inteclaided 
them  wilh  symphonies  which  increase  their  aalnral  monotony. 

He.  BEitiiRT  is  not  very  qrilflmatical  in  the  Sgatiag  of  his 


FSALMOOV. 


197 


bassei.  Wh;  thould  the  6,  whidi  denotu  the  Mcond  invenion  at 
the  dominant  hftTDiim^d)  bavfendaih  Ihrongh  It,  when  such  a  dash 
w  nol  required  bj  the  nodulalion.  According  to  the  general 
nil^  a  dash  drawa  through  a  6  nuiet  the  note  a  cliromalic  semi- 
lone.  Were  m  to  adhere  to  this  nle.  In  the  MCond  bar  of  Wafc»> 
^eld  tone,  (p.  4)  tbe  F,  which  b  sharp  by  the  tlgnatarc^  would 
become  doubly  ^rp  hy  the  dath.  In  Abridge  tune  (p.  6}  the 
dash  is  used  in  the  3d  bar,  where  there  is  no  moiluiation,  and  it 
occnrs  again  in  the  5th  bar,  wlicre  the  scale  changes.  Such  an 
aibilrarj'  use  of  a  sign,  Icnile  much  to  puzzle  young  harmonists; 
besides,  we  may  obgerre  tbu  Mn.  Bbmhbtt  u  not  consUtent  nith 
himself,  for  in  bar  the  lllh,  the  harmony  of  4  agaio  occnn,b(it 
the  dash  is  omitted.  In  tbe  4lh,  9ib,  and  13lh  bars,  the  f  under 
theS,  is  sUpeiAuous;  for  the  3il  is  alread;  sharp,  and  ibeieforo  re- 
qniret  no       to  htdicate  it. 

We  mention,  these  things,  though  thej  may  seem  trifling,  knowing 
well,  Ibal  the  difficulty  which  is  experienced  by  students  in  hat* 
tnony  pracwda  chiefly  Avm  the  ledaitdwMy  of  the  ifgna  employed, 
and  from  Ae  cspridout  ttse  whicb  b  often  nmds  of  tbem.  Sbonbl 
Hn*  Bbmitett  agcee  in  Uie  juatnesg  of  onr  remarka,  be  may  be  in- 
duced l<i_carrect  liis  useful  work,  in  a  subsequent  edition.  < 

The  selection  made  by  Mn.  Borrowed  does  not  differ  mnch 
from  the  preceding*  It  is  very  portable,  and  is  exceedingly  well 
adapted  for  all  those  wlio  winli  to  cultivate  psalmody  according  to 
masical  rules.  Some  of  Mr.  B.'s  basses  we  think  miglit  be  im- 
prored,  otid  Lis  harmonies  occasionally  are  too  harsh  and  chroma- 
tic. These  however  are  chiefly  nuilters  of  taste,  therefore  we 
■hall  not  diTcU  on  then*. 

Hb.  JjiooBi  has  |n<odiicod  |h»  bast  makof  piBlmody  which  we 
bam  yet  *en,  wbetberwe  considerlbo  miulc,  the  poetry,  or  tbe 
knangament  of  the  whole.  In  the  choice  his  words  lie  has  availed 
bimselfof  tbe  able  assistance  of  tbe  Kbv.  Mn.  Babrbtt,  who  hn 
been  at  the  pains  to  select  portions  of  our  received  metrical  veriioii 
of  the  Psalms,  applicable  to  every  Sunday,  and  the  principal  Holi- 
days throughout  the  year.  We  shall  present  our  readers  wtlii  a  few 
passages  from  the  author's  [tfcface: — 

"The  design  of  theexcellent  aelectlon  or  couneof  Psalms  to  which 
the  following  tnnei  are  adapted^  b  lo  render  tbe  taatic^,paiL.tt 
diyiBB  wonbip  more  aUrjictive:  wkl  edifyu)g>  by  connectiDg  il  wiih 


198  futHODr. 

lh«  snlgeclt  nfcioh  Oib  Cfaarcfl  Im  appointed  &»  meditaOan  om  Um 
Sondmji  ud  principal  )lolU&jt  tbnhffltmt.the  jnar- 
,  "  To  aid  LhiB  deiif(n,  an  attempt  b  Imk  made  ta  luilmutic  lo  the 
wordi;  and  Rccordtngl}'  each  psalm,  or  portion  of  one,  hai  a  lune 
sdaptnl  as  neatljr  to  flie  spirit  of  i(,  ai  wai  jvdged  after  attattiveljr 
considering  the  prevailii^  Mnlimont. 

(I  Thiu  a  pHilm  of  ptaue  hu  a  tune  of  dfgoified  cbeerfuloen  and 
energy;  a  jMalm  of  praver,  a  tune  of  Kilemniivpetneuand  supptica' 
tlon ;  a  psalm  of  complaint,  a  tune  of  plaintire  melancholy,  and 
sit  forth. 

"  A  little  observation  will  sUggesl  the  true  mnnner  of  performing, 
£0  as  to  make  soiinil  nnil  sense  agree  ;  ami  lu  Ilils  end  the  sympho- 
uies  are  nritlen  or  allemplril  in  the  style  nf  their  respective  luncs. 

"  The  finest  of  the  altl  church  melodies  have  been  selected  and 
introduced,  allcr  undergoing  a.  revision  la  the  basses  and  liarmoniei, 
together  wilh  many  new  nnd  ricdlent  coniposilions,  written  ex- 
pressly for  llie  work  by  snme  of  (lie  most  emincilt  f  omposcra. 

The  order  of  the  tiork  is  the  eamens  Mr.  Bahbett's  course  of 

Eainu,  namelj',  (wo  ptnlms  for  each  service  thrDu;;ht>ul  the  year. 
lilitT  being  tbc  chief  dniffn  «f  the  niiok-  work,  it  is  humbly 
bopettibat  it  may  become  an  Instrtiment  of  exciting  B  gicnlcr  spirit 
of  aeTotion  in  thal'part  of  dttine  worship,  which,  ir  properly  per- 
£mn«l,  will  animate  and  cheer  the  heart,  •ociolise  the  afiectiona^  aai 

Sirepare  the  mind  to  leccive  those  iDstrnctiena  wliicb  are  ibr  tbe  cvet- 
atting  welfare  of  the  soul ;  and,  In  the  performance,  mny  tbe  Apoi- 
tle's  cxhotlalion  be  impressed  on  every  one— "  fffcrtwewr  ye  do,  do 
all  to  the  ghri/ofGodr 

These  pasis^s  atfotd  a  very  pleasing  specimen  of  the  author's  dis- 
position, and  of  his  fitness  for  flie  task  which  he  has  undn-lakcn,  end 
-which  he  has  performed  in  a  manner  that  does  him  much  credit.  He 
bBi  preserved  "  the  finert  of  our  old  charcli  melodies,"  and  tbe  man- 
ner !n  vbieA  he  hat  lnrn»iifnd^am  proves  Um  to  bo  an  able  eon> 
trapAntist  We  have  howem  obaemd  a  fetr  ilight  inaccumdcs, 
which  we  should  hardly  notice,  if  it  were  mt  fertile  deriie  tie  feA 
itt  make  tins  esodUnt  boek  ««  correot  at  ptmtbie. 
'  In  page  8^  from  bar  6  to  7,  there  era  bidden  6thi  b^iireen  (fas 
melody  and  the  bass,  which  proceed  by  similar  motion,  from  an 
imperfect  to  a  perfect  consonance.  There  are  also  direct  5tlis  in  the 
accompaniment.— See  plate  Jst,  No.  1. 
■  Hidden  8tbs are  found  at  p.  II,  from  bar7  to  8.— See  No.  S. 
'  Similar  progressiima  between  tbe  extreme  parts  of  the  liarmony 
mny  he  met  with  in  several  other  places,  particularly  at  p.  59,  where 
the  whole  of  the  third  strain  proceed*  in  this  forbidden  manner.— 
8eeNa.3. 

Such  pn^nssioDt  are  disallowed  by  erefy  coireot  writer,  there* 


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nALHODY. 


fore  we  venture  (o  meDtion  them  to  Ub.  Jacob.  In  a  fev  inttancci, 
he  frill  also  find  (list  (he  tenor  moTca  in  direct  octaves  with  the  ban  i 
Me  recollect  one,  at  page  18,  between  the  fourth  and  fiilh  bars  of  St> 
James'  tune. 

TheKt  we  repeat,  aretriflingfantt^tbotisli  we  think  it  worth  while 
lo  mend  tbem ;  and  we  have  iddom  seen  so  exienaire  a  woric  as  our 
aathor'i  with  fewer  inadvartenbiea. 

The  eymphonics  or  interludes  which  Mr.  Jacob  has  added  to  the 
Psalms  arc,  generally,  very  appropriale;  Uiough  hc  Ihink  ITiat,  oo 
casionnlly,  lie  is  rallicr  loo  cliromalic.  For  proof  of  the  justness  of 
this  opinion  we  refer  our  icradcis  lo  Nos.  4  nnil  5,  which  are  the  inter- 
lades  to  Oak-hill  and  Tolleriilge  linips,  and  are  taken  from  p.  p.  17 
andSBof  the  work.  We  ILLc«ise  doubt  whether  No.  6  parlakca  of 
the  character  of  SL  Matthew'i,  orNo.  7ofYark;  towhich  fine  tunes 
thej  are  appended. 

In  the  rhylfamical  conatniGtion  of  his  interlndei,  Mr.  Jacob  ap- 
pears to  have  mosUyfcJlowed  the  metre  of  the  psalm;  and  where  the 
lines  are  not  equal  in  thennrober  ofsflbblet^  tobave  given  unequal 
periods  in  tbe  interlude. 

From  the  propriety  of  such  an  arrangekuent  we  are  inclined  to  dti- 
■ent>  Where  music  is  united  to  poetry,  in  simple  counter  point  and 
wilbont  tepelilion,  it  must  necessarily  conform  to  tbe  poetical  metre. 
But  wben  left  to  ilself,  a  strict  adjustment  of  theperioda  to  each  other 
is  indispensable ;  bccnusc  the  language  of  instrumental  music  must 
always  be  indefinite,  to  a  curtain  di'grce;  and  it  becomes  still  more 
)nde6nite  wben  an  exact  rhythmus  la  not  observed.  Ma,  JjicoB  is 
not  uniform  in  this  respect,  for  on  turning  to  p.  p.  39  and  40,  wo 
find  (a  Abridge  and  Bexlcy,  both  tune»  of  the  common  metre,  inter- 
ludes eoasittiug  of-periods  of  iour  bars  each.  These,  we  confess,  are 
more  agreeable  to  as  than  many  others,  which  have  an  unpleasant 
tSect,  arising  from  their  irregular  coRslructlDn. 

Tlie  anaagement  of  the  scare,  in  tbis  work,  is  not  latiiliulciry, 
tboDgfa  it  is  agreeable  to  a  custom  too  often  followed  in  Enghiid. 
The  melody  is  put  next  to  the  bass,  and  the  alio  and  tenor  parts  are 
put  above  both.  This  unnatural  order  of  the  score  makes  it  difScuIt 
to  be  read;  and  the  difliculiy  is  further  increased  by  the  alio  and 
tenor  notes  being  printed  in  the  G  clef— the  former  as  they  are  to  be 
song,  tbe  latter  an  odaTe  higher.  "This  ioconvraienceisoccaiioD- 
ed  by  the  w  of  the  G  def,  to  emfim  to  an  tinrd  aMom.  The  Editor 


mLHODT. 


gieat^  tamonti  tint  be  did  not  iet  tfaia  part  in  itt  oun  proper  cIcT, 
the  C  clef."" 

AlwLird  indeed ! — Discrrfifablc  fo  ub  as  a  people  with  any  musical 
pretensions,  fttid  we  tincete\</  join  ivilh  the  Editor  in  greatly  lament- 
ing that  he  should  have  given  hi^  respectable  sanction  to  such  a  ridi- 
culous practice. 

Wc  must  not  omit  (o  notice,  that  bjr  thu  industry  of  Mr.  Jacob, 
and  by  the  kindness  of  his  professional  friends,  his  work  is  distin- 
guiihed  by  (be  introduction  of  nearly  fifty  new  tunes.  Tbese  are  of 
Yoy  unequal  merit;  and,  we  think,  that  while  aome  may  be  adniued 
by  tbe  pablie^  other*  will  only  obtain  that  admiration  which  (heir 
authors  are  inclined  to  bestow  on  Ihera. 

We  have  paid  more  than  a  usual  share  of  attention  to  Ma. 
Jacob's  Book,  becapse  we  think  it  does  honour  to  his  head  and  his 
heart;  and  we  haTe  no  donbt  that  iU  worth  will  be  best  appreciated 
by  those  whom  be  must  be  niDit  an^clona  to  please. 

It  is  now  time  that  we  iatrodnce  Ha.  Jobk  Whitakes  to  our 
readers;  and  as  this  gentleman  presents  himself  in  the  character  of  a 
great  reformer,  we  shall  make  way,  and  allow  him  to  be  heard.  He 
saya— 

"  Having  for  many  years  been  employed  in  the  varioni  occu- 

Ktion*  of  OncANisT,  CoNPOSBB,  TeachXb  or  Hdsic,  and 
IBMIHER  or  HVSIOAL  WoRFI  TO  A  V»r  OOIHIDHKABIiI 

BXTBHT,  I  ba>«tfaen:by  had  cqiportaiiitiM  of  in^Miling  nait.l>f  tke 

publications  of  those  persons  who  have  been  candidnies  for  public 
favour  in  the  composition  of  sacred  music  intended  for  devotional 
purposes. 

"The  result  of  that  experience  is,  that  I  have  found  muchb<a.beai 
done  to  produce  the  desired  effect,  but  much  more  Ufl  undone.  In 
order  to  make  myself  clearly  imderstiHi(l  upon  this  point,  it  nill  be 
necessary  to  make  a  few  observations  upon  Ilie  present  state  of  this 
ipeciet  of  mnaical  composition,  and  tlie  mode  of  performing  it. 

"  In  (he  Chdrgm  of  Ehqland,  it  appears  (hat  tlic  modbIi  ff)r 
composing  a  psalm  tune  was  formed  about  the  lime  of  the  ReFoa- 
NATION,  and  is  Htlll  adhered  to  with  a  very  few  exceplloni.  But 
ill  style  is  so  antiquated  and  monotonous,  that  cultivated  genius 
and  reGned  taste  (produced  by  prosressire  improvemeat  in  the 
science  of  music)  have  become  satiated  with  iis  dullness  and  insipi- 
'  dily.  The  HODBt.  itself,  however  pleasing  it  might  have  been  in 
those  davf,  (when  the  knowledge  ofthe  theory  of  music  was  so  con- 
fined) will  ba  fiMnd  liUle  elte  tfaaa  a  succession  of  chords,  wilbout 
anj  rcfcrence  eitho  ta  hiiiODt  or  fathoi  j       any  musical  cou- 

a  Fre&ce,  f .  S. 


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FIALMOniY.  301. 

position,  (liowerer  ingenious  in  pmnt  of  theoretical  construction) 
willioul  lliese  great  requisifes,  will  never  ivin  the  uncultivnfed  ear. 

"  In  system  (he  composers  oroiirchurcli  pa^ilinuily  liave  so 
consliiridy  persevered,  even  up  to  llio  present  Jay,  llmt  I  preaiinie 
they  have  either  conceived  it  impossible. to  improve  this  modgi.,  or, 
thai  tfaeji  haTe  nevei:  given  the  BUnject  one  moineiit's  reflectioD ;  it  it, 
hawevefi  certain,  that  anch  a  mere  dry  combination  of  toandB  can 
nerer  eiubrace  the  imagerj  of  poetry. 


"  In  order  to  prove  lUnt  Hie  generalitj-  of  pealnt  tunes  possess  the 
defects  to  whicli  I  have  iilliidpd,  1  will  itiBtance,  ai  a  rare  exception, 
that  celcbrnlcd  prnducliun  of  tlie  imhohtal  Handel,  known  as 
(he  I04th  Psalio,  which  lins  been  sung  into  a  degree  of  popularity 
that  will  never  cease  but  ivitb  lime ;  nnd  the  reason  is  oovious — it 
possesses  a  fine  flowing  melody,  which  at  once  rivets  the  alteotion, 
and  delights  the  ear  of  the  most  ignorant." 

The  learned  author's  logic  is  here  too  much  for  us,  for  ve  cannot 
nndenland  in  vhat  manner  the  "  celebrated  production  of  tin  tU' 
ifOKTAi.  Hahssl  proves  that  the  generality  of  psalm  tann  is  good 
for  nothing." — But  to  proceed.— *'  In  our  Catheukai.  Cbvbcbm 
Ihe  vuniB  la  composed  and  performed  in  b  manner  mil  calcolated 
to  express  Ibe  varions  pasiaget  in  scrlptuTe,  to  wiucli  it  is  applied ; 
but  even  tliete  the  impressive  and  tutefbl  melody  is  preferred  to  the 
pedantic,  cramped,  and  monotonous  composition  which  is  only  pro- 
duced by  the  joint  effoits  of  labour  and  art. 

"  The  unrivalled  compositions  of  the  late  Ma.  James  Kent,  miH 
sufficiently  prove  this  assertion ;  in  jsbort,  no  one  can  doubt  it  who 
has  ever  heard  these  in oom  parable  and  sonl-speaking  proilootions-' 
Hear  my  pn^/tr~Mjf  tong  tbatt  be  of  mercy md.ttng  O  ye 
Heaeau" 

It  ftirUiec  more  appears  that  Mr.  W.  has  been  delighted  in  the 
Romish  Church  "  lo  a  degree  bordering  on  enthusiasm,"  and  ha« , 
"  henrd  them  sing  some  of  the  finest  airs  that  could  possibly  be 
inagined  by  hnman  intellect." 

He  hu  alio  beoi  in  Disieoting  congregations,  and  bu  "  h^ard 
with  vroodering  pleanue  Ibeir  efibrtt  to  laud  the  Di^yi"  and  **  such' 
bold  and  improsivo  fl^ti  of  bncy  in  their  mdodiet  that  wonld 
have  done  boBotir  to  the  first  rate  miuical  talenL"  Unhappy, 
he  has,  "  at  (he  same  time,  found  nunt  of  them  so  encumbered  with 
jaUe  harmony,  forbidden  progressions,  and  iitjudiaom  uaijhdtleit  al' 
tempts  at  coanter-poial,"  that  li'a  pleasure  and  atlooflliment  "have 
given  place  to  regret."   This  severe  reproof,  front  a  pRifoond  critic 


•m  rsALMODr. 

like  Mr.  Wii itaker,  miglit  Imvn  hcea  too  much  for  the  poor  Dii- 
scntert— be  is  tbnefoie  good  enough  to  observe,  (hat  *<  tbe  eflbrt 
it  laadabli^  althoagb  it  does  more  honour  to  ibe  heart  than  to 
the  head" 

We  do  not  pntend  to  undetsland  exaclljr  vbat  oar  author  meain 
,in  hi>prefece.  Herepe^edly  tnlktof  n  "model,"  without  G)vaur- 
ing  ui  with  Rn;  clue  to  the  idea  which  he  affixes  to  the  term.  We 

viW  presume,  faawcver,  tliat  be  alludes  to  the  character  of  me- 
loJy  which  distitii^iiisliEs  our  uli!  psulincKly,  and  IbU  he  finda  to 
"  anliqualed  and  raonotorioii?,  lUnt  cultivated  genius  and  refined 
taste  have  become  saliated  wilh  ifs  dLiness  nnil  insipidity." 

Those  who  are  acquaiiiti'il  ivilli  the  melodies  which  have  been  so 
long  received  into  our  strvicf,  will  at  once  be  able  lo  determine  on 
the  justness  of  Mn.  W.'s  cundemnqtiun  of  them;  and  those  who 
have  hitherto  paid  but  little  attention  to  tbn  aubject  will  mmd  be 
able  to  decide  on  bit  prelensions,  as  a  TcfbrnKi  of  ovr  psalmodic 
music,  [ft  in  tbe  course  of  thb  article,  we  bave  lucceeded  in  coDvej- 
liig  to  l^em  an7  notion  of  what  ^onld  lie  Jts  appropriate  charac- 
teristici. 

Mb-  WttiTAKER  might  here  be  asked  wbj  be  condemns  our  old 
tunes  in  a  mass,  and  then  helps  himself  so  liberally  to  them  in  de- 
tail t  In  page  18  of  the  Seraph,  we  Rnd  Dr.  Cboft's  "  Angel's 
Hymn" — spoiled,  we  conceive,  by  the  harmony  which  Mb.  W.  hat 
put  to  it,  but  proving,  by  ils  having  a  place  in  his  work,  Ilint  lie  dues 
not  consider  it  dull  or  insipid  ;  many  more  of  our  best  tunes  may  be 
found  in  the  course  of  the  Rrst  volume. 

But  without  dwelling  on  this  inconsistency,  we  will  now  consider 
wbal  are  Ma.  Wuitakbr'b  claims  to  our  attention  and  gratitude  at 
a  musical  reformer- 
Having  diieovered  the  manifold  defccla  of  the  old  "  tystcm,"  he 
propoiei  to  remedy  them — Grtt,  by  an  adaptation  of  workt  by 
flireign  com  poien— secondly,  by  an  adaptatbn  from  tbe  works  of 
oor  own  countrymen— and  thirdly,  by  camposllloni  of  hl»  own. 

On  opening  the  Seraph,  we  are  struck  with  the  sight  of  Mozart's 
duett,  "Ah  perduna."  The  introduction  of  sncb  a  composition,  in 
a  work  intended  for  devotional  purposes,  inducet  us  to  say  a  few 
words,  liecause  the  melody  it  beantifiit  in  itself,  and  it  among  the 
ffioit  popular  of  the  [Heaent  day. 
Of  all  (be  axUf  rantic  anociato  ibelf  tnoit  powerfully  wltk  ttiae, 


Digtltzed  by  Googk 


203 


))lace,  Slid  ci  re um stance,  anil  it  is  batdly  passible  to  listen  to  any 
melody  whicli  lias  had  a  peculiar  appropriation,  villiout  culling  to 
mind  that  patlicukt  circumstance.  Let  us  suppose  our  nalionnl 
ail  of  "  God  save  the  King,"  or  "  Rule  Britannia,"  introdaced  into 
our  charch,  as  ve  hear  tlie;  abiurdi;  bare  been  introdaced  by  tam." 
DfHeulen  into  thdr  diapeb^  mold  it  be  ponible  for  the  most  devout 
and  attentive  among  tbe  congregation  to  Itstxm  to  tboae  nin  without 
distraction  .* 

Would  not  the  minds  of  the  hearers  bo  insensibly  withdrawn  from 
"  heavenly  tilings"  to  tliuse  of  earth,  and  nould  not  their  praises  of 
llie  King  of  Heaven  be  mixed  up  nilb  some  reminisences  of  an 
earthly  prince,  or  of  the  political  events  connected  with  his  govern- 
inent  I  Even  this  is  putting  (lie  subject  in  the  fairest  point  of  view, 
for  loyalty  and  patriotism  are  noble  virtues,  nnd  may  and  ought,  in 
adegrecjto  mis  themEclves  in  our  religious  cxcercises.  But  what 
shall  be  Eaid  if  wc  deseenil  loner  in  the  scale,  and  presume  to  con* 
nect  nilli  these  exercises  enrthly  passion,  and  such  exhibitions  of  it 
U  are  (o  be  net  with  in  onr  theatres  and  other  places  of  public 
amtiieinent}  Is  it  Tlghlj'If  ft  decent,  when  the  tiiind  of  a  man  Lbs 
been  purified  and  exalted  by  Ihb  previous  scrviue  of  the  Cburch| 
that  the  current  of  bis  thoughts  slionid  be  thrown  back  to  things 
which,  in  comparison,  arc  low  and  dcbnsingP  or  that  at  a  moment 
when  "  all  beaven"  seems  brought  bi^fore  bis  eyes,  lie  should  bo 
led  to  think  of  Theatres  Hoyal,  or  Concert  Itooms,  or  the  Minor 
Theatres,  or  Vouxball.  That  sucb  must  be  the  case,  on  fttR. 
Whitakbr'b  plan,  every  one  -wiU  allow,  vtho  has  paJd  the  least 
attention  to  his  own  musical  associations. 

There  is,  however,  no  asiocintion  in  music  more  ]ii)iverfid  than 
that  of  airs,  and  the  poetry  to  which  wc  have  bren  acctistomcd  to 
heartbem  sung.  It  is  tbcreforeof  the  lait  importance  thai  no  music 
■hould  be  admitted  fbr  the  ten)ice  of  God,  vliich  has  a  direct  ten* 
denej  to  atraken  In  tinr  minds  ideas  WUcli  are  derogatory  to  the 
exalted  notions  whiiA  vc  entertain  of  his  holiness  and  grandeur. 
On  this  account  we  strongly  reprobate  the  introduction  of  *'  Ah  per- 
dona"  info  Mr.  W.'s  book,  tiotwilbstanding  the  beauty  of  tlic  me- 
lody. The  duett,  whuncc  the  melody  is  taken,  is  In  La  Clcmeuza 
di  Tito,  and,  if  we  remember  rightly,  is  sung  by  a  lover  and  the 
object  of  his  pasnon,  whom  be  olTcndcd  by  too  much  wanath  of 
«xprestton> 

D  d  2 


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.muniir. 


T9  appeoM.hef)  l^e  t'mg» — 

.    .      "  Ah  pcrdona  al  prima  afielto,  , 
Qiieslo  nccenio  sconaigliato ; 
Cu1|ia  fiL  (kl  labbcD  uaato 
A  cuai  clii  amati  ognor." 
The  lady  it  immedialcty  softened,  and  replies— 
"  Alt  til  fosli  11  piimo  aggctto, 
Clic  finor  fcdcl  amai, 
£  ta  ruUimo  larai 
Ch'obbia  nido  in  qucafo  cor." 
Sokinda  declaratlonenraptureslfae  lover,  and  be  exckim»— 

"  Caii  BGceutl  del  mio  bene  I" 
TliU  drawi  from  liii  iQulretB  a  GtiU  Kfter  exdaButioo— 

"  Ob  mia  dotce,  care  ipeme  1" 
On  wbicli  the  lover  vcrjr  naturally  obiem* — 
"  Piu  che  accolto  i  senii  taoi> 
In  me  cresce  pi4  rardot." 
Tbcn  tbey  anile  in  ainging  the  following  veno — ' 
*'  Quando  un  alma  c  altra  unila, 
Qual  placer  un  cor  risenle  t 
Ah  si  tolga  d'alla  rita, 
Tulto  quel  cbe  non  i  amor." 
Ta  the  above  amatory  lines,  Mozakt  bos  put  miuic  of  tbc  mott 
exquisite  description  i  and  we  know  of  natfaing  which  goes  beyond 
it,  in  heightening  those  impressions  which  persons,  enamoured  of 
each  other,  may  be  sapposed  to  feeL  But  while    refined  tatte" 
most  applaud  the  genius  of  the  original  composer,  nUl  it  excuse  the 
man  nbo  could  adapt  music,  blended  with  such  poetry,  to  stniu 
Uke  the  following  ? 

"  Let  thy  various  tenlrai,  O  earth, 
Praises  yield  la  beav'n's  high  Lord  ; 
Praise  him  all  of  human  birth, 
And  his  wondcrous  acts  record,"  SfC.  &c,* 
In  page  96  we  find  the  dnctt,  *'  Deh  prmdi  m  dolce  antplaio" 
amnged  to  a  liymn  by  Dr.  Cou-tbk.   The  application  here  is  not 
so  particularly  oifensive  (o  us  as  th*  preceding  t  bot  we  otgectloil 
oa  Ihe'gencral  principle. 

*  Sen^h,  p.  1. 


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,.nkiM9Vt.  205 

Proeeediii2-.,(o  page  .1^  of  tlia  neOBd  Yolam^  .ve  jneet  with 
rnqotbor  air,  Uozabi^  taken  ffoiii  .bi*  open  of  JLe  Noue  # 
,  Sigaro.  , 

Thenifc  of  CovntAlmaviva, 'aware  of  bb  dcMgiu  on  her  atten- 
dant, SuBannah,  trho  ia  bclrolhed  lo  Figaro,  has  entered  into  a  plot 
to  deceive  bcr  husband  i  (o  render  bis  attempts  abortive,  and  lo 
restore  Iiim  to  n  sense  of  what  is  due  to  love  and  virtue. 

Susanuab  goes  into  the  presence  of  the  Count  to  furwaril  the  de- 
.  iig;D  concerted  between  her  and  her  mistress ;  and  the  CounI(»s,  while 
;  Bostoaslj  waiting  for  the  retaro  of  her  domestic,  falls  into  a  traiti  of. 
reflection  on  the  strange  and  incnisistent  disposition  of  her  Lord, 
and  tbe  dangtir  of  tbe  enterpriae  in  wbicb  abe  is  embarked.  Her 
mind  tben  nalonlly  imrU  fo  £inaer  da^a  of  bBpi»neti,  and  ibe 
breaks  out — 

"  Dove  Sbiw  i  bei  mameiiU, 

Dt  dojcena  e  di  piBMi? 

Dove  an4aro  1  giurameiklt  ^ 

Di  quel  labbro  meoxogoerl"  &o.  &cfi 
It  was,  probabljr,  the  situation  in.  which  tbe  Counteaa  ii.  placed, 
.which  induced  Ma.  WHixAKEn  to  adapt  the  music,  in  wbicb  she  ia 
made  to  utter  her  plaints  to  tbe  rerses  wliich  follow  t 

<<  Come,  heavenly  peace  rfmind, 

I  sigh  for  ihj  return ; 

1  seek,  but  cannot  find. 

The  jqjre  Ibi  which  I  motun ; 

Ab  I  qben's  the  SaTioai  now. 

Whose nniles I  once  poesessedl 

Till  be  return  1  bow, 

Bjr  IwaTieat  giief  oppreil ; 

Hf  days  of  happen  ore  gone, 

And  1  am  left  to  weep  alone."+ 
If  Mr.  W.  should  attempt  to  shelter  himself  under  the  notion  that 
the  poetry  of  tbe  airs  just  mentioned  is  written  in  a  foreign  language, 
and  therefore  unknown  to  a  great  majority  of  persons  in  this  country, 
be  merely  begs  tbe  question,  and  we  deny  tbe  fact.  From  the  gene- 
ral diffusion  of  education,  and  the  inherent  beauty  of  the  Italian 
^£aag^  the  latter  is  ahnost  every  where  cultivated ;  besides  which 

•  Le  None  dl  Figaro.    Atto  teno 
t  Serapb,  VOL  S,  p.  UAi 


SOS  nALHODt.  , 

wemayiuaBikth&tthepoeUyof  MbtastaIio  hai  IboBd  Bntnber- 
Ie«  tmndaton  and  imitaton,  and  the  popolaritr  of  HozAKf'f 
mntio  iia«  canatd  U  to  be  repeatedly  iatrodiiced  on  onr  EnglUh 
stage,  and  thereby  has  fitmillariied  it  to  English  hearereof  all  raolu 

and  degrees. 

Every  one  hsi  beard  oflbe  famous  Maraeilles  Byran,BndtbeteaFe 
fen  pereoni  without  some  Tccolleclions  of  the  bloody  scenes  lo  nbiclt 
it  was  often  a  prelude:  this  composition  U a.  Wuitakee  has  been 
pleased  lo  introduce  into  bis  "  useful,  d<^nl,  and  complete  Col- 
lection of  Sacred  Mnsic,"  and  adapted  it  to  votdi  from  Ussmos'i 
Psalms,  which  begin  as  fallows  : 

"  Arise,  ye  people,  dap  the  liaAd» 
EzDhlttg  strike  the  cbord; 
lict  every  iile  and  every  laod 
Coofesi  the  Alm^h^  Lord,"  &G.*        '  ' 
'  In  hii  sdeotiona  Jrom  the  ^mptroniei  of  Hati>ii,  Mr.  W.  hm 
been  more  fintnnate,  toaimiKA  as  the  moremenls  he  hu  duMen  bring 
irilb  tbem  no  poetical  dssociitions  which  ihocS:  the  mind.t  Serioni 
perHiDt,  however,  wh6  have  been  actjnstomed  to  lUen  to  4ht  per* 
formance  of  those  movements  in  a  Conc«rc<roDm  can'  never  approve 
of  their  introduction  into  llie  Church. 

Before  we  quit  the  modern  conlinenfal  writers,  whose  works  have 
been  laid  under  conlribution  by  Mr.  W.  wc  must,  as  a  specimen  of 
his  refined  taste  "in  the  selection  of  sacred  themes,"  refer  our 
Teaders  lo  No.  8. 

This  precioiu  morsel  having  been  choeett  by  Ur.  W.  we  do  not 
I»esnme  to  make  any  comment  upon  it. 

Bnt  we  venture  lo  qoestion  the  pA>priety  of  &is  adaptaf  ion  at  p.S6 
of  vol.  1st. 

There  are  few,  acquainted  at  all  with  lheci»n(M8[tIiMu  of  Hakhbi^ 
who  do  not  jemember  his  fine  song,  in  Drtdeh's  ode — 
"  Happy,  happy,  happy  pair! 
-    None  but  the  brave  deserve  the  fair," 
Nothing  CRA  exceed  the  sprightly  tone  of  this  air,  which  is  sup- 
posed to  be  sung  by  an  ancient  bard  to  an  ancient  hero,  indulging  in 
the  joys  of  love  and  wine.   Mneic  here  lends  ilsaid,  in  an  admirable 
tnntiner,  to  produce  in  ns  n  corresponding  train  of  (hougbts ;  and  to 

•  3mph,rol.a,p.  IW.  t  IMd,  vd.  l,p.6,and  vd.3,p.e, 


DigiUzfld  by  Google 


PSAI.MODl', 


wliat  bas  Mn.  Whitakbr  applied  aacli  muuc! — to  bring  (o  our 
nindi  tbe  itDpeodoQa  miracle  or  the  RBtoRREOTioN  1 
**  Angela,  roll  the  rock  niraj'; 
Drath,  yield  tip  Ihj  mighty  prcj : 
Beet  he liiea  ftoo the  twnb, 
Glowing  vilk  immoilal  bloom,"  dw.* 
After  nefa  ■  apeoimeii,  we  vonU  raoit  wining!/  conrinde ;  and  it 
iiuothing  bat  a  sense  of  daty  that  Indncn  n>  to  proceed. 

Turning  to  hi«  leleciioDt  trom  Englbh,  Sortd,  end  IriA  nntliori, 
ve  End  the  same  preTailing  taile  in  Hr.  W.whfch  hu  led  to  tire 
above  monstroas  combination. 

Thote  who  do  not  chose  to  sing  HarriXgton'i  round  to  woidi 
which  b^D — 

**Howiweet  it-the  pleamte,  how  great  the  deligbt, 
When  soft  Love  and  Hnrio  together  anhe,"  &c. 
Hay  yet  enjoy  the  mnric,  adapted  to  tiie  following  pioni  efforioo 
from  the  pen  4^  Dm.  Colltbb  : 

How  peat  the  compSHion,  my  SAViotrR,  my  Qon, 
Which  led  IheetoparchBHanr  peace  with  tAy  blood,"  ftc. 
'  In  like  manner,  penoni  who  have  inng,  till  they  are  tiied,  Pax- 
ron't  glee— 

*'  Breathe  loft,  ye  winds  [  ye  waters,  gcnlly  flow;  ' 
Shield  her,  ye  trees  ;  ye  flow'rs  aronnd  her  grow; 
Ye  swnins,  I  beg-  yoa,  pass  in  silence  by; — 
My  Love,  in  yonder  vale,  aikep  doth  liej" 
Will  Gnd  ynriety  in  Mr.  W.'s  adaplation  of  the  maiic  to  a  byiiui> 
Ibe  first  words  of  which  arc — 

"Tboii  Lamb  of  God,  thou  Prince  of  Pciicp, 
For  (hee  my  thirsty  soul  dolli  pine ; 
My  longing  heart  implores  thy  grace; 
O  make  ma  In  thy  likenen  ahfne  l"t 
There  are  few,  we  bdiere,  who  can  tirink  ot  Miltov,  wilbonl 
having  thor  ndnda  instantly  ImpieMed  with  imagea  oTgtandetir  and 
enblimity.    He.  WsiTAKashat  bcenwflred  by  aconleniptationef 
OUT  great  poet,  that  he  has  adapted  one  of  his  fine  hymns    praise  fa 
the  old  plaintive  Scotch  tanettf  Lewie  GoaDoH!{: 


•  Seiapb,  Tid.  1,  p.  174.  t  lUd,  tdL     ?■  133. 

}  Senyh,  vol.  I,  p.  70. 


PSALMODV. 


Thiiair  makes  iUappcarance  in  notes  ofa  more  venerable  character 
than  tboM  vfaieb  anusDallj  emplojed  (oejquTM^it;  but^aUal  itU 
Lewie  Gordon  atill,  ud  betog  sppn^iriided  to  voida  of  the  moat 
jnjons  and  elevating  deKription,  Hr<  W.  with  siagabt  proprietj',  haa 
directed  that  it  should  be  sang  with  great  aoi-BHiiiTT, 

We  could  produce  many  more  exampltt  of  Hr.  W.'i  talent  tor 
selection ;  but  this  isa  poialtVeC(Hiceire,aniTludionr  readers  miut 
now  be  perfectly  satisfied. 

Before  we  qeit  this  part  ofonr  subject,  however,  we  must  enter  our 
most  serious  protest  against  the  introduction  of  sucli  poetry,  as  ilut 
whicb  is  inserted  at  p.  331  of  tbe  first  volume.  Our  readers  majr 
take  the  firstrene  as  a  specimen. 

Thoa  aoft  flowing  Kedron,  by  thy  silver  stream. 
Out  Bavknt  at  midnight,  when  Cynthia's  pale  bflom 
Shona  bright  on  tbe  waters,  wouhl  often  times  atny. 
And  loaein  tb;  momuira  the  toits  of  Uie  day." 
It  it  hardly  necessary  lo  remark,  that  this  it  a  parody  of  Ganick'i. 
song,  "  Thou  sod  flowing  Avon."    To  enlarge  on  the  wretched  taste 
which  can  produce  or  adopt  such  lines  is  Bnteiy  superlluoas;  fw  we 
think  there  are  few,  whose  religious  feelings  are  not  of  the  gresaest 
kind,  ivho  will  read  Ihem  without  a  thrill  of  disgust  if  not  of  horror. 

It  now  remains  for  us  logive  some  specimens  of  Ma.  WuiTAiceii'a 
talent  aa  an  orginal  composer  of  uacied  themes.  He  having  discover- 
ed that  the  old  system  is  worn  out — that  it  produces  only  monotony 
and  dnllnesi,and  thaiHomamerembnuUieimi^erffofpotlrjf  our 
readera  will  feel,  as  ve  ounelm  ieU>,a  natural  ouriosity  to  luiow 
what  he  has  atcbieved  in  the  way  of  improvsment.  Let  them,  then, 
turn  to  No.  9,  when  they  will  find  an  extract  from  the  flnt  composi- 
tion with  which  Mr.  W.  has  bvouied  na  ia  hb  Seraph,  page  U. 

An  examination  of  that  extract  will,  perhaps,  indnce  sone  peiaont 
to  lament  that  the  pious  Watts  did  not  draw  hissimtle  from  the  Bay 
of  Biscay  instead  of  from  tlie  Baltic.  In  that  case  our  author  might 
have  availed  himself  of  the  music  of  a  well  known  song,  which  we 
should  have  considered  equally  approprlnle  ivilh  his  own. 

At  pnge  SO,  we  find  another  of  uur  author's  effiisions,  which  he  is 
pleased  to  term  "  Bliss."  But  to  Qs  such  a  strain,  applie<l  to  the 
service  ofGod,  i«  "Tobhent,"  Let  the  reader  cxamiac  No.  10, 
amdjodgeforhimaclf. 

Mr.  WuiTAKBa'apowerfo heighten, by mnaicalexpieasioat  the 


FSALUODV. 


209 


moat  wkmn  emolionB  of  (he  mind,  maj  Iw  seen  at  No.  11 ;  and 
tbgte  wbo  wuh  to  k&oir  bow  aetalj  he  canAppnnch  the  anblime  in 
compotUuHijiiHf  cgotultbisb^DuiOD  *«The  Iiul  Oa/,"al  p. 
intbelitYol. 

OBrnm'B  tmulBlion  of  "  Veni  Cieatoi  SpiiHat)"  bu  been  lon^ 
odebniled..  HowmuchitfauniwdandioflMned tbebnagbutlonoC 
Mr.  W.  is  proved  by  No.  IS. 

Wb  are  very  glad  ne  met  with  "  Harvest"  in  a  collediop  of  laertd 
maiic;  otherwise  we  might  bare  been  dull  eooagh  to  suppocfr  ttbad 
been  written  for  Vaaxball  oi  the  Royal  Circnt.  At  No.  13  ire  gin 
the  sj-mpliooj'  of,this  production  as  a  sample  of  the  rest. 

Bishop  Kemn'b  Morning  Hjmn  ii  deferred Ij  admired,  and  it  has 
brensutto  muiicin  a  variety  of  wa}^.  But  never  before  did  vre  see 
tucli  a  union  of  music  and  poetry  as  that  vrhicb  our  author  has 
effected  at  p.  200  of  his  igt  Tolumc.  Our  readers  %ril)  find  estracti 
from  it  at  No.  li. 

In  juitice  to  Mn.  Whitakbk,  tre  present  out  readers,  at  No.  15,  . 
nilh  m  example  which  we  consider  ia  be  the  most  favourable  ape- 
cimeii  of  bis  talents  that  the  Seraph  contains.  There  is  no  novelty  ia 
theair,  bnt  it  is  simple  and  impressive,  and  it  is  dis6gurcd  bynoneof 
those  traits  of  vulgarity,  which  aboond  in  theotber  parts  of  the  work. 

We  must  now  hasten  to  a  conclosion  of  this  article,  which  has  ci- 
tetided  itself  in  a  manner  we  did  not  contemplate,  when  wc  began  to 
write.  But  forour  prolixity  we  Bhall  oHer  no  apology.  The  sub< 
j«ct  is  so  important  that  it  demnnds  the  most  ample  discussion  and 
consideration  from  all;  especially  from  those  who  have  undertaken 
to  watch  over  the  interests  of  the  musical  art  in  this  country. 

If,  as  we  have  endeavoured  to  show,  it  is  becoming  and  pleasant, 
that  they  who  assemble  ti^ther  to  ofier  up  their  prayers  to  the 
'Supreme  Being,  should  also  unite  in  praising  him,  the  manner  in 
whiditbitia  to  bo  efifected  becomes  a  matter  of  serious  enquiry  :  and 
since  it  is  impossible  to  expect  tbat  oar  congregations  should  per-  - 
fiirm  IhD  Tsrioni  patta  vhieb  conitlttite  harmony,  nothing  rcrnnim 
for  tbem  but  the  nmplo  unbanoos  style  of  lEnging  vbiofa  has  gene- 
rally prevaUed  araong  aa  from  the  period  of  the  lefoTmatioB.  -  We 
are  quite  nmueof  Uie  neglect  into  nbioh  IbiaslylB  of  sin^ng  it  fallen, 
aad  vft  have  pointed  oot  tbe  only  metbod  by  nblch,  in  onr  opioion, 
itcanbeiesloiedtoitadwrankin  thepabUesertic^aodberindcto . 
produce  the  grand  efiects  of  which  it  ii  snsceptible. 

TOL.  III.  RO.  X.  Be 


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210 


The  species  of  music  (o  be  ailoplul  Tor  tfab  purpose,  is  aaotlier 
point  ivorlbj  ofgmve  coosidention — and  here  we  are  complete]/  nt 
isbuu  with  Mb.  Whitakbb.  It  appean  to  nitliat  heiaa  nuhlj 
come  Torward  to  cimdenin  that  nbich  hit  babtts  aud  sladiei  }i^n  not 
coabled  him  properlf  to  nndenfaod,  and,  like  many  otben,  he  hn 
undertaken  the  great  tatk  of  reform,  willi  mrnna  mott  mtEcraUy 
disproportionetl  to  the  end.  Having  characterized  the  greater  part 
of  the  inusic,  employed  in  the  cerviceorourcburcb,  as  "anliqualed 
and  monolonotis,"  and  as  repulsiTeto  "cultivated  gen iua  and  refined 
taste,"  our  astonishment,  if  not  our  indignation,  is  excited,  when  we 
find  liim  presuming' to  supply  its  place  by  tunes  gleaned  from  the 
Iheolres  and  tca-ynrik'U!)  of  the  metropolisj  or  by  original  compo- 
sitions, which  nri!  about  cquiil  to  (hiise  tunes  in  devotional  dignity, 
— Arc  these  ihv  ninrks  of  the  "  progressive  improvement  in  the 
Bciencu  of  music"  to  whlcli  onr  autlmr  alludes !  Or  arc  lliey  marks 
of tbc  grossness  and  barbarous  conceptions  of  the  art  which  prevailed 
some  centuries  ago?  Wo  ate  far  from  supposing  that  Mn.  W.  is 
not  sincere  in  his  iatentions  to  do  good,  but  he  has  certainlf  un- 
dertaken an  important  laboar  vltbout'  a  due  preparation  for  il.  He 
■»  at  tome  painttotet  forth  the  various  occupBt ions  In  which  he  has 
been  engaged ;  neveithelesa  we  saipect  that  he  isverj  little  acquainted 
with  the  works  of  oar  great  ninslen.  This,  iadecd,  is  apparent  bj 
the  sitly  rapture  in  which  he  speaks  of  the  "  incomparable  and 
soul-spcahtng  productions"  of  KENT-~one  of  the  most  mediocre  of 
our  Cathedral  writers. 

He  who  would  compose  for  the  service  of  our  Church,  and  who 
ventures,  not  to  supcrscflc  writings  which  have  been  consecrated  by 
time  and  general  acceptance,  but  to  place  his  works  in  Ibe  slightest 
com peti lion  w  itli  ibem,  must  be  very  careful  to  purge  his  mind  from 
all  vulgar  and  irreverent  nssocinlions ;  lest,  when  the  imagination  of 
his  hearers  should  lie  fixed  on  "  things  above,"  they  should  be 
drawn  down  to  things  below."  There  are  men  in  England,  we 
think,  who  are  capable  of  thus  preparing  themselves  for  the  office 
of  composers  for  the  Church.  If  not,  and  if  our  old  music  be  to 
deteriorated  by  time,  as  Mk.  Whitakbb  has  described,  and  if 
nothing  better  t>e  fiirthcomiag  to  <suppljr  its  place  than  that  which 
he  has  produced  in  the  Seraph — ^we  must  indeed  begin  **  with 
sham^  to  take  the  lowest,  place  among  the  musical  nations  of 

Europe. 


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C.  F.  MePs  Adagioi,  in  Score,  and  J.  B.  Crwner'i  Sptcimais^  iit  the 
Fugue  style.    London.   Fur  llic  tlojal  Hanaonic  liutitulion. 


The  object  of  the  pnbtication>  whose  tit(e  wc  have  just  recited,  ii ' 
t)r<vfold — firat,  to  give  to  (lie  world  tliesc  Adagios  of  Adei.;  nnd 
secondlf,  to  stiield  Mr.  Csambh,  their  cdilur,  from  liic  clinrges 
broilglit  agniriEt  liim  in  some  of  our  former  {ingcs.  Wc  nrc  now 
compelled  to  sjKak  of  our  own  proilucltons,  and  wc  one  it  Ui  otir- 
sclves  to  declare,  tliat  oiir  work  is  iiddressetl  to  gOi»l  nmi  not  to  I'vil 
piirposis ;  llicrcfore  wc  bring  neitlicr  v  anion  luir  Lui^iippoilcd  nccu- 
sntions,  iinjusllj  to  alTecl  Ilie  TcputQiioii  uf  any  man;  nnd  ns  the 
■talemenls  we  iiavc  made  do  go  to  impute  to  Mu.  Crameq  llio  elm* 
lacterof  a  wniilun  or  wiirul  plagiarist,  wc  sliaUnt  once  meet  this  gen- 
tleman upon  tlic  o[)Kii  ground  ol  fair  and  manly  examinnlion,  Wc 
must  neceieatiljr  be  led  into  investigations  of  gome  tcnglii ;  we  ihall 
lliercfbre  pass  over  Abel's  compositimis,  in  order  to  come  directly 
to  the  point!  in  dbpute  between  ourselves  anil  Ids  papil,  Mr.  J.  B. 
CxAHlta. 

To  put  the  matter  iiv  a  clear  liglit  wc  mnst  invert  (lie  metliod  of 
Hk.  CRAiiBn'4  little  book,  and  begin  almost  where  lie  ends.  At 
the  concluaion  of  his  work  Is  insertedf  a  sketch  ofliis  musical  studies, 
"  drawn  from  him,"  sajs  Mn.  C.  *'  by  the  rcqticat  of  a  gentleman 
who  having  accidculally  read  an  article  \f'hic\\  appeared  some  weeks 
since  in  a  late  periodical  publication,  enlitled  a  Musical  Ucvicw, 
wherein  his  early  musical  pursuits  have  been  particularly  alludL'd 
to." 

The  g!:and  desigji  of  this  memoir  is  in  the  (irsL  pincc  obviously  (o 
lessen  the  obligalions  Ma.  CnAMBn  is  universally  supposed  to  Iny 
under  to  Mrt.  Clemijnti's  friciidsliLp  nnd  instructions;  En  tire 
second,  to  ward  olTllic  din  ct  charges  of  plagiarism  wc  lAailc  against 
him ;  and  in  the  lost,  lo  impute  tu  an,  bij  irisimtnliont  mean  or  base 
motives. 

First  fheh  of  the  first.  From  our  Memoir  of  Mr.  Clembnti,  at 
page  311,  we  extract  the  following  passage  i 

"  In  the  antuian  of  1783  Jobn  Baptist  Csamer,  then  about  Ti 
or  is  years  of  age,  became  hi*  pupil*  He  boil  previously  received 
tome  not  very  profitable  lessons  of  ScnnoETER,  and  was  iludying 
E  e  S 


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312 


ABEL'S  ADACIOI. 


CDunterpoint  under  Abel.   Clekkkti  at  this  limeioidcd  inTitcb- 

field-stieel,  and  Yovng  Chamer  u&ed  to  attend  bim  alntost  every 
morning  until  the  following  year,  when  Clehknti  returned  to 
France." 

Mn.  CnAniEit  says,  "  I  ought  perhaps  to  have  mentioned,  that 
at  the  ogc  of  II  and  prtviously  (in  the  year  1782),  1  received  aome 
very  profilnblc  lossons  from  llie  laic  and  justly  celebrated  perrormcT, 
Mr>  ScHBOEien,  and  suou  after  this  had  the  advantage  of  becom- 
ing a  pupil  of  Mr.  Clbmenti,  (in  the  autumn  of  the  year  1763,) 
under  vfhom  1  studied  for  a  few  montlis,  during  which  period  he 
taught  me  several  sonatas  of  his  composition  exclusively,  for  which 
favour  I  ihall  ever  feel  liappy  and  ready  to  oSer  that  gentleman  ray 
aincerc  acknowledgmcnla. 

It  was  now  my  lot,  at  the  ngc  of  tliirteen,  to  be  lefl  to  my  own 
guidance  in  the  practice  of  tbj  piano  forte,  ivben  by  degrees  I  be- 
came acquainted  will)  and  studied  the  works  of  the  best  writera  for 
my  instrument,  viz.  thus<;  of  IIamiel,  the  Hacus,  Dohinico  Scar- 
latti, Muthel,  Paradies,  Ci.BMnNTi,  Havon,  Schroetbb, 
and  lastly  Mozabt,  It  was  also  my  invariiibli;  i;iijtuni  lu  si;ize  every 
opporluoity  that  might  occur  to  listen  ivitli  imn;ii  EiUi;iiliijn  to  any 
and  every  distinguished  performer  on  my  iNslniineiit  tliat  did  either 
visit  or  might  be  resident  in  Ejigland.  I  lake  the  liberty  of  enclos- 
ing to  you  a  few  specimens  of  esercises,  in  the  fugue  style,  which 
were  written  by  me  while  under  Ms.  Abei.*b  tuition;  and  with 
confidence  submit  to  your  candour  wbelber  the  chief  toorce  ftom 
which  I  am  indebted  for  tlie  principal  portion  of  knowledge  vhichX 
may  have  acquired  in  my  art,  lias  not  been  derived  from  the  ioitruc* 
tioiu  I  have  received  from  Ibe  late  C.  F.  Abel  V 

tbt  capital  diffinvnce  Itetween  tiiese  avermrntB  appears  to  Ik, 
that  Mr.  Cbaher  aoticei  Uioie  leisoDi  from  Scsrortsb  at  **.Ter]r 
profitable"  which  we  described  ns  "not  my  profitable."  This, 
fortunately,  is  a  matter  which  may  be  settled  by  reGiiniiig  to  cii- 
cumslanccs  better  than  byasseition.  '  We  shall  therefore  refer  to 
facts  and  BTgoments. 

"At  Ibe  age  of  eleven,"  says  Mr.  Cramer,  "I  received  some 
very  profitable  lessons  from  the  late  and  justly  celebrated  performer, 
Mtt.  SoBHOSTZB."  At  the  age  of  twelve,  it  appears  he  became  the 
pnpil  of  Ur.  Clehbrti,  under  whom  he  studied  ibr  some  months, 
during  which  period  he  was  soon  taught  sevenl  of  thatgentlcDian'i 


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Asa,'»-  ADisios.  813 

compoaiUotts  udualvd;.  Here  tben  m  tlitee  oiteamtracci  to  he 
noted— 1st  tbe  age  and  capadtjr  of  Ma.  Ckambr  ;  Sd.  the  cap** 
bilil;  of  tliB  two  inBlmcton;  aad^  thirdly,  the  duration  of  tbeit 
iiutruclions.  With  respect  to  (lie  fint,  it  will  scarcely'  be  disputed, 
we  preiume,  that  a  buy  of  twelve,  having  already  commenced  hli 
musical  cilucntion,  would  he  more  capable  of  deriving  benefit,  in 
proportion  to  Ills  ad  van  cement,  titan  at  any  earlier  age,  espeoislly  at 
that  particular  anil  impnclant  point  of  lime  wlien,  liavl(ig  overcome 
lomeof  those  technical  ili^liciJlli'i  nliont  wliich  the  minii  h  lillle 
employed,  hii  powers  hnil  begun  geriorally  to  expand,  and  (o  fit  liim 
for  a  higher  branch  of  study.  In  this  stale  Ma.  GnAHen  stood  pre- 
cisely irben  lie  first  leoeived  Mk.  CLSHBNTi'a  instracUona.  So  fiir 
tbenfora  ai  hit  own  capacity  is  implied,  ho  was  most  likely  to  derin- 
&r  more  aad  far  p^ler  benefit  fnim  his  ttGood  than  fiom  bis  Bat 

With  legtad  to  the  powers  of  tbo  two  inflnidlors  not  a  word  need 
be  said.  Allowiag  every  merit  to  Sohboixbb,'  Ckbhsnti  bad ' 
nteii  as  far  above  him  as  tlie  inrentoT'  of  modem  ezecuUon  is  above 
B  player  by  no  means  the  ablest  nf  an  age  of  absolute  obscurity  and 
barbarity,  compared  with  that  proficiency  which  it  b  noiversalty 
admitted  Clbhshti  cdeatbd. 

With  respect  to  the  duration  of  their  instructions,  it  should  appear 
that  the  attendance  of  the  one  (ScHnoBTca)  was  limited  to  a  few 
lessons,  while  we  have  strong  reason  to  believe  that  Mr.  Cbahbr 
.went  to  the  other  (Ci-BHBNTi}  nearly  every  morning  for  MntentwrfAi. 

These  consideratioos  will,  we  apprehend,  set  the  fint  question  b^ 
twem  Ub.  Cbambb  and  ounelTes  at  rest;  for  (h^  will  show  that 
nearly  all  the  directions  he  could  hare  received  in  the  innnation  of 
Jhis  style,  of  playii^  must,  from  the  naton)  of  the  time  and  circam- 
stancea,  have  been  derived  from  Ub.  Clbmbhti.  By  thus  insisting 
nponthis  fact,  let  as  not  be  understood  as  by  any  manner  of  means 
intending  to  detract  from  those  personal  eserlions  to  which  Mb. 
Crauer  seems  to  be  indebted  so  considerably  for  the  pre-eminence 
to  which  he  h.is  attained  as  a  piano-forte  phyer.  We  desire  to  do 
fair  justice,  and  only  fair  justice,  to  the  parties  and  to  our  own  repre- 
sentation of  the  fdcts.  Ma.  CnAUca's  progress  in  the  study  of 
composition  formed  no  part  of  our  relation;  what  therefore  he  says 
concerning  his  obligations  to  Abbi:i  has  nothing  to  do  with  the  prac- 
tical excellence  or  tbe  diiectionoC  bii  iDldUectnal  fiicultiei  to  Ihc 


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fiI4  ABGL'M  AI)j(GIOS. 

lechsical  part  of  liis  art,  which  il  is  clear,  on  liis  own  Ehcwing,  he 
derired  munlyfrDm  tlie  kindness  and  attention  of  Mb.  CLBHSim; 
foraabseqaentlj,  and  at  (he  immatoTeage  of  thirteen,  he  hinudf 
iays  it  washii  lot  "to  be  left  to  his  own  guidance."  Indeed  the  bare 
fact  of  no  olhiT  masler  having  been  thought  neccssnrj,  anfiicicntif 
sliena  the  exiciil  of  ihe  benefit  he  received  from  Mn.  Ci.embsti. 

Since  however  Mn,  CnAtiEn  has  cli.illenged  atlcntion  to  the  proG- 
cieiicj' in  cornpuEilion  he  attained  under  Anai,,  and  has  thought  fit 
to  gu  (D  the  proof,  by  printing  his  eitcrciaes,  we  shall  proceed  to 
shew  what  Ihe  araouvt  of  that  proficiencj'  really  was,  by  a  candid 
exposition  of  the  verj  obvious  defects  in  the  composilions  Mr.  C. 
-has  given  w.  If  tiieic  "  specimens  of  the  fogue  stjle"  be  intended 
to  demonstrate  the  pre-existence  of  Mr.  CnANGn's  jndgmenl,  a 
iaar«  boiml  funeral  oration  over  the  defunct  facully  could  not-baTe 
been  pronounced  w  conunitled  to  paper ; — but  if  they  ^x  dengned 
to  iheiv  the  knowledge  and  atleolion  of  the  roaster  under  whom  he. 
studied,  they  are  most  unhappily  chosra,  for  tbey  exhibit  erron  m 
glaring  as  to  be  accounted  for  only  by  the  perfect  indiRerence  of 
the  instructor  to  the  pcrlurnianccB  and  improvement  of  his  scholar. 
If  again  Ihcy  arc  now  produced  to  exhibit  the  ingenuity  of  Ihe  pw[& 
lilmself,  they  fail  as  cgregiously  in  their  object;  for  we  are  ooa< 
vinced  tiiere  are  few  Iwys  of  ordinary  capacity,  aided  by  ordinary 
instruction,  who  would  not  have  written  exercises  of  equal  or  sope- 
rioi  merit.  Now  to  oar  proofs,  and  we  beg  to  say  we  slinll  omit  to 
notice  many  minor  imperfections,  which  would  disfig-iiru  composi- 
tions of  a  mure  finisiicd  kind. 

From  long  observation  directed  to  the  second  parts  of  (he  move- 
ments of  alt  Hk.  CjtAHxa'i  corapodtfons,  which  is  the  place  where 
a  profound  composer  always  sbewa  his  ffaill  in  working  up  his  sub- 
jtets,  we  were  in^ed  to  bdicre  be  had  never  made  much  progress 
In  double  connlerpoinf,  and  the  examples  of  tfaesft  studies  barre  giTea 
conlimmtiDn  to  thnt  opinion.  Hie  author  bos  pradentlj  put  the 
paVfi  in  these  specimens  G>r  instraments  Instead  of  voices,  in  ofdei'  t6 
avwl  himself  of  the  latitude  allowed  in  such  cases;  bnt  it  is  proper 
to  remark,  that  writing  begins  or  ought  to  begin  for  voices,  and  such 
latitude  is  only  allowable  to  those  who  are  in  full  possession  of  th6 
Btrlcl  laws  of  coih|xisition,  and  who  consequently  inav  how  to  mak^ 
a  judicloos  use  of  it.  We  Bnt  lenrti  ml0s  and  afterwards  theit 
cxcciilions.  'fo  do  othetmsC  it  to'  invert  the  nstnral  order  of  litady. 


Abel's  adaoios. 


315 


Example  1st,  page  16,  is  stich  a  trilc  and  scboolboy  Eubjcct,  that 
we  are  surpriicd  Mn.  C,  slioiild  liavc  thought  it  worlliy  of  publica- 
tion at  all — rauch  more  an  wticn,  if  he  really  undcrslniidi  tbe  nature 
of  this  species  of  com  position,  lie  mmt  be  aw.ice  of  the  niMj  errors 
it  contains.  In  tlie  4lh  bar  and  part  of  the  subject,  thetrlton  within 
tbree  notes  is  vicious.  From  bar  13  to  13,  (be  |7,  instead  of  ascend- 
ing to  tlie  tonic,  descendi  a  (bird,  trhich  is  not  pemiitled  in  thia 
tl;le  of  compOHlion.  la  bar  16,  the  reaolutian  of  foui  parti  In 
nnlion  hu  a  mo«t  miierabty  poor  dKd,  and  b  nerar  allmred  i  and 
what  itill  Tcndcn  it  wonc  is,  that  the  Rtat  violin  makes  hidden 
unisons  with  tbe  9il.  The  first  note  of  tbe  subjecl,  in  bar  18,  being 
in  unison  with  the  bass,  is  very  poor ;  besides  Ibis  from  the  ISib  to 
the  I9th,  and  from  the  lOlh  to  the  SOlfa  bar,  the  bass  ties  a  short 
note  to  a  succeeding  long  one,  which  is  contrary  to  tbe  best  rules. 
From  31  to  52  are  lira  bold  consecutive  fiRhs  between  the  first 
violin  and  (lie  tenor.    In  the  34tb,  the  tenor  becoming  bass,  forms  a 

which  h  the  poorest  inversion  of  the  common  chord.  Bar  38, 
atlbougb  but  in  three  parts,  bat  the  same  poverty  of  unison  and 
octave  trhich  has  before  occurred.  At  the  end  of  Ibc  same  bar  we 
find  the  defect  mentioned  above,  of  lying  a  short  note  to  a  long  one. 
In  bars  40  and  41,  there  aro  lira  ■uccesriTC  skips  of  a  fourth,  which 
forms  a  7tb,  and  strangeto  saj,  not  half  itfUiis  fugae  Is  in  four  parts, 
although  expressly  intended  to  be  so. 

Example  Sd.  contains  many  of  the  errors  which  abound  In  ex- 
ample 1. 

Example  3d.  The  answer  to  the  theme  b  decidedly  wrong,  the  ia- 
lervals  being  neither  tonic  nor  real.  In  bars  S  niid  9  the  vicious  ret- 
leralion  of  A.  G.  three  times  is  condemned  by  nil  good  writers. 
From  the  9th  to  tbe  lOlh  bars,  the  skip  of  Ihe  |7  to  tbe  third  below, 
is  not  permitted  in  strict  couiilerpoini,  although  tliis  seems  to  be  a 
matter  of  predilection  on  tbe  part  M  ii.  t'.  s'iiki:  lie  has  contrived 
to  do  tbe  same  thing  al  the  endol  llifi  first  :ind  second  part  of  Abel's 
Adagio  in  A,  which  (bcnnlhnr  himself  has  judiciously  avoided.  In 
the  last  bar  but  two  is  a  succession  of  barefaced  perfect  fifths,  nay  there 
is  a  complication  of  error,  for  (he  tenor  makes  hidden  hflhs  with  tbe 
first  violin,  and  hidden  unisons  with  tbe  second  ;  yet  this  has  been 
published  for  tbe  purpose  of  shewing  the  good nes  and  attention  of 
the  masln',  and  Uie  progress  of  the  scholar. 

Example  4th.  In  this  specimen  wc  could  pwnt  oDt  various  errors 


ai6 


Xan'S  ADAGIOS. 


of  the  deiciiptioa  mentipDcd  In  tlie  others,  but  we  iiavc  done  enough 
to  iliew  with  what  judgment  Mb.  C  bu  Knt  these  bantlings  into 
tiie  wotld,  and  \tith  -whatteown  hecomplalntof  the  vant  ofjuitioe 
and  eandoui  in  critics- 
Here,  Mien,  we  qoif  for  a  time  the  ipedment  of  bia  muiio,  and 
conie  to  hb  epistoiarr  compoiitioni. 

Mb.  Cram EBconcludei  his  letter  b^  a  postscript,  which,  like  the 
correspondence  of  Ihe  fair  sex,  contains  the  pith  and  raaTrow  of  (he 
whole.    That  we  may  do  Mr.  C.  no  injustice  we  shall  quote  it  entire. 

"  And  now  by  viay  of  reference  to  two  unjust  nnd  unwarrantable 
remarlis  aimed  at  me  by  tlie  Editor  of  the  said  Musical  Hcvrcw,  in 
vol.  7,  psgeSIS,  and  alio  in  page  357,  I  will,  in  leplyi  quote  the 
words  of  the  cetebrated  Musician,  C.  P.  E.  Sack, who  under  simi- 
lar circorostances  says : — 

'*  Wiien  these  critics  are  disposed  (o  give  an  opinion,  tbey  are 
frequently  too  severe  on  works  that  conic  under  their  lash,  from  not 
knowing  the  circnmstnnccs  that  gave  them  birth,  or  bofng  acquainted 
Willi  (he  author's  original  intention;  for  how  seldomaTeorillci&iiiid 
to  possess  feeling,  science,  and  candour ,-  qualities  without  which  no 
one  should  set  up  for  a  toverei^  jndge.  It  is  a  melandiol;  tiutb, 
that  musical  criUcism,  which  might  be  useful  to  the  art,  is  commonly 
aatereinKb,  and  too  frequaitly  carried  on  by  dty,  miberal,  mi  prt- 
jwSctd  writers." 

Mb.  Cbaher  thus  it  seems  accuses  us  of  "unwarrantable  re- 
mnrks,"  Now  what  was  the  nature  of  these  unwarrantable  remarks, 
and  liow  docs  Ma.  C.  go  about  to  substantiate  his  charge  ?  At  page 
315  of  our  second  volume  it  was  staled,  that.  Ma.  Clehehti  de< 
signed  to  publish  his  extraordinary  work  of  cruilltlon  and  technical: 
power,  called"  Oradiis  ad  Parnassum,"  under  the  title  of  his  "  Studio 
for  the  Piano  Forte;  but  secrets  are  seldom  kept  when  they  are  in  the 
possession  of  more  than  one,  and  it  is  probable  that  this  intention  was 
communicated  loanauthorwhohassincc  given  that  tilletoawell-known 
publicalioD."Tbispa»»agocontainsafact  which  if  not  true  can  be  easily 
contradicted  by  Hu.  Clbmbsti  himself;  and  it  is  also  an  erta< 
blished  fact,  that  Hb.  CsAMBftdid  soon  after  pnblish  a  work  uudei 
the  latter  appellation.  Now  It  is  cerUinly  extremely  possible  that 
two  men  might  adopt  the  sametitle,lint  i(  isnot'a  littlesingnlar,  that 
such  title  should  be  in  a  forngn  language,  and  that  the  coincidenoe 
in  point  of  time  should  be  id  complete.  That  Mb.  Clbm £KTI  be. 
log  anilaltan  by  birth  shouhl  prefer  an  Italian  cognomBufor  bit  produo- 
tion,  is  natural  enough ;  but  Mr.  Gbakbk  would  not  Ue  under  the . 
same  influence.  If,  however,  Ub.  Crakbe  has  been  suspected  wnmg- 


Digtltzed  by  Ci. 


Fullj',  wh;  nu( ticclare atoncethat  nliL'ri  Itcpubli^licd  Uii  Sludio lie  wai 
IgDoranl  of  the  choice  Mr.  Clehenti  hud  projected,  and  that  the 
title  of  hU  book  noa  the  oKspTiiig  and  suggestion  of  hit  own  mipill 
Oar  pages  liave  alwajs  been  and  always  shall  be  open  to  the  corteo- 
lion  of  an;  inadnrtenciet  of  our  own  or  our  cotreiimndenla.  This 
would  have  been  circulating  the  antidote  Ibroiigh  the  lame  counra 
that  conveyed  the  poison.  Not  to  have  adopted  such  a  measure  ii 
somewhat  strange,  and  it  is  yvt  more  remarkable  thatMs.  CnAHBn 
ahould  have  avoided  such  a  declaration  even  in  fais  own  reply,  be- 
cause these  are  (he  natural  means  that  would  lirst  present  themselves. 

The  ncxtslep  In  our  invcsti;;alion  is  (he  second  "  on  wnrron table 
remark"  againut  whii^h  Mn.  C.  obj.'cls.  At  p.ige357,  ofthu  juciiuJ 
volume  of  our  He  view,  after  the  nnalysis  of  Mil.  Cram  1:31 's  moil 
recent  pliigiariiui  from  Mti.  Ci<bhenti,  ue  said,  "  this  is  not  the 
first  time  U>.  Clbmbnti  has  had  to  complain  of  tiii  pupil  for  aimi* 
br  depredntiont.  "  TalH  alter  honoret,"  affixed  u  a  motto  Mn. 
Ci.8MBirTi,  to  tlie  Bdagio  No.  H,  in  the  Rnt  volume  of  his  Qradus 
ad  Parnassum,  ne  have  found,  since  our  review  of  llint  elaborate 
worit  of  gehiut,  indrntr; ,  and  experience,  alludes  to  Mr.  Cramer, 
and  the  reasons  ma;  be  found  in  that  gentleman's  second  piece  ofhja 
"  Dulce  et  utUf." 

Wc  have  agnin  compared  llic  compositions,  nnd  there  can  be  no 
dnnbl  that  ihe  one  is  XaVcn  from  the  other.  The  subject  is  ns  plainly 
borrmved  ns  ])ossib!e,  though  arlfuily  disftni^'^d  and  despoiled  of 
hiilf  its  bciiiily.  Xor  is  il  In  us  nbiiK  thai  Mii.Cii*meh  lias  lo  re- 
ply in  vijidicalioii  of  hii,  cliaracler  on  this  score.  Tlic  head  of  the 
lesson  in  Ci.EMENTrs  Gradus  is  now  thus  pre^ceil  : — 

"  Adapted  from  my  ductc  Op.  14,  published  in  London  1784 — 
Tulil  «Aer  honorea.  Virg.  apud  Donat.  See  Cn/iiiER,'s  Oulce 
et  Utile,  second  piece,  where  the  plagiarism  is  evident." 

Thus  Mr.  CBAHBRitands  directly  accused  by  Ihc  author  him- 
self, and  is  indeed  conricled  by  the  very  striking  similitude  of  Ihe 
two  prudiiclions  at  every  musical  phrase  in  the  subject.  Taking  the 
irili-rnal  evidence  alone  for  our  guide,  we  should  pronounce  that  the 
slight  differences,  such  f')r  inslance  as  (he  intmd action  uf  the  B  natu- 
ral resolving  into  C,  which  Mr.  Clgmbnti  places  in  the  treble, 
(bar  3)  and  Mn.  Cbakeb  in  the  bass,  (bar  3)  arc  the  rcsulls  of  de- 
sign, not  chance.  It  is  indeed  impossible  lo  suppose  that  any  two 
roindiieTcr  coincided  so  nearly  without  calling  in  Iho  aid  of  untnteiu 


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318 


AB£L'S  ADAGIOB. 


lional  rccoUcction  (tbe  most  leDlont  iatetpretalion)  to  explain  t&e 
resemblance.  TLis,  thaugli  it  make*  the  offence  more  venial,  dpei 
not  Tender  it  less  a  phgiaiisDi.  Oui  leinaTb,  therefore,  viU  pro* 
b^lily  not  seem  so  "  unwarrantable"  to  our  impartial  jaige,  tbe 
publir,  as  it  (Iocs  lo  Mu.  Orambu. 

In  conclusion  we  come  lo  llie  iiisiniiatiim  Mu.  CnAMEJi  (by  his 
qiiotalion  from  Bach)  lins  levelled  at  tbe  conductors  of  tbe  Quar- 
terly Musical  Magazine  and  Review.  Whether  the;  "po»eu  feel- 
ing, science,  and  toslc,"  must  be  for  the  public  to  decide,  and  tliere 
nre  now  ample  materials  for  farming  such  a  juilgntent.  But, 
ivil1|  respect  to  "  illiberalily,"  we  challenge  Ma.  CaANBa  to  pro- 
duce a  single  passage,  from  tbe  first  page  of  No.  1  lo  tbe  lait  of 
No-  9,  that  is  jaslly  amenable  (o  sucb  a  charge,  or  even  of  unwar- 
ranted prejudice.  We  do  not  pretend  to  infallibilily — bntwedo  lay 
the  strongest  claim  lo  integrity.  Whaf  we  pnblbh  we  realljr  be- 
lieve ;  and  to  our  readers  we  leave  (o  decide,  from  internal  evidence, 
whether  wc  judge  hastily  and  lightly,  or  whether  ne  exhibit  toe& 
powers  ordiscrimlnatingand  of  reasoning  as  may  entitle  us  to  credit. 
These  points  ne  are  quite  ready  lo  submit  to  those  by  whose  decision 
we  must  stand  or  full.  Nothing  is  more  certain  than  that  the  opit 
nions  of  individuals  like  ourselves  can  only  derire  their  reception 
and  their  power  from  a  general  accordance  witb  justice  and  tradr. 
They  gather  all  their  force  from  the  universalobservaliDa  of  the  pob- 
lie  upon  their  progress,  and  tbe  ettimatioB  tbey  ^in  from  Ibe 
continued  tenor  of  the  judgment  Ibus  formed.  Wetherefiirearecrea* 
turn  of  tbe  same  mould  and  supported  by  (be  same  breath  tbalsnslains 
Mr.  CBAHBa  at  bis  elevBtign.  That  we  have  been  most  sparing  of 
censure,  no  one  can  have  read  onr  work  and  forbear  to  acknowledge; 
for,  taking  it  as  a  principle  that  the  reputation  of  few  performers  and 
few  living  composers  is  sulSciently  high  to  sustain  the  severity  of  cri- 
ticism nithout  much  and  painful  injury,  uc  have  almost  uvoklcd 
lo  touch  any  whose  characters  nre  nut  cslnblir,lied.  We  have 
caught  with  delighted  eagerness  at  every  opporliuiily  of  foster- 
iog  rising  talent,  and  residing,  as  the  Editor  and  many  of  tbe  prin- 
cipal Contributors  do,  apart  from  the  cabals  of  tbe  profession  and  of 
the  trade,  we  have  administered  neither  lo  the  passions  nor  tbe 
interests  of  any  man  or  any  set  of  men.  We  have  regarded  alone 
what  appeared  to  be  due  to  the  honour  of  Ibo  science  and  tbe  ad- 
Tancemcnt  of  tbe  cboracler  of  its  professors.   To  miMy  m  Out  am 


ABBL'S  ADAGIOS. 


219 


labonn  are  regarded  in  such  a  light,  nc  have  not  only  the  genoral 
TeceptioD  of  onr  work  m  the  mnsical  world,  but  we  have  wriltcii 
(cstimonie*  from  a  large  number  of  (be  most  cfniaent  profeaaDra  and 
Unatenri)  to  the  approbation  with  which  they  have  Gponfaneously 
been  pleased  to  honour  tlie  general  plan  and  execution  of  the  work. 
Nor  have  we  l>een  engaged  in  controversy  with  more  than  a  single 
complainant,  until  me  had  the  niisforlune  to  run  planter  to  Mn. 
CaAHKs.  That  we  did  so  from  no  leeling  of  liostilitj  against  a 
gentleman  of  whom  we  have  not  tlieslightesl  personal  knowledge,  has 
been  alread;  evinced  by  the  way  in  which  we  have  spoken  of  Ills 
great  talents* — talents  which  no  one  can  hold  in  higher  estima- 
tion than  tlie  writer  of  this  article. 

it  is  moreover  extremely  singular,  that  having  twice  charged  this 
{worossor  with  direct  plagiarism,  he  should  have  thought  proper  (o 
evadfl  the  moat  seriooa  part  of  the  aocuntion,  and  tnra  aiide  to  inri- 
anale  ai^  Imply  (he  ps^ible  mcaniiesi  irf  onr  motives,  instead  of  re- 
futing the  facta  we  a'ddaced.  In  the  one  instance  we  anbstanlhrfed 
oar  asaertion  by  an  actual  analysts  of  Mn.  CtaMKNTt's  and  Mr. 
CsAHSB'sSonatas;  and  in  reply  to  this  nnalysis  Mr.  Cramer  tells 
OS,  by  means  of  Charcgs  Philip  Emanugl  Bach,  (hat  musicnl 
criticism  is  commonly  a  mrre  triuk.  And  what  then  ?  How  does 
this  touch  the  question?  If  Mn.  Ciiamek  imputes  to  us  any  (liin^ 
beyond  that  natural  and  liuncsl.  dusiii:  iu  combine  profit  with  a.  libe- 
ral, uqefol,  and  honourable  exercise  of  such  abilities  as  we  possess  in 
the  tenrioetrfthe  pablic,wUch  is  comtAon  to  roost  of  those  who  write 
and  whoprint  (heir  prodoction^  we  call  upon  falm  tobring  forward  hh 
prooft.  Wfaatwere  '^thBciroi]'mstan«sthatgaTebIrth"(o(heimita* 
(ion  of  Ha.  Ci.EUKKTt'a  wvrkt,  or  what  "the8u(hoT'a  inleatibM,**we 
know  notjbnt  if  they  diDered  from  the  common  leasona  tIui(inil1gB(e 
men  to  actions  which  arc  considered  derogatory  to  (he  character  of 
the  person  committing  tlicm,  it  was  a  duty  Mr.  Cramer  owed  to 
liimsclf,  to  guard  against  llic  most  natural  interpretation,  which  could 
not  full  to  be  put  upon  tlicm  by  the  »orld  at  large.  This  professor 
would  insinuate  that  we  di'gradc  llie  ilignity  and  the  liberality  of  the 
critical  office  into  a  mere  trade,  by  which  we  presume  he  means,  if 
he  means  any  thing,  to  imply  that  we  turn  aside  from  justice,  and 
considering  only  our  profits,  sordidly  prostitute  our  industry  and 


See  wA.  1,  page  395 ;  vol.  3,  page  SCI.' 


Mir  credit  wilb  the  piililic.  In  nich  &  eaie  it  »  not  for  m'tb 
prove  R  negative  [  ne  caU  upon  Hb.  CRiiiBB  to  mklie  good  irbat 
he  insiiiuRlra  by  pioof,  drawn  from  our  workf.  And  fartber,  we  put 
il  biitii  lo  the  reader  and  to  hinnelf  to  decidoi  which  lavonn  ipxt 
uf  mi  inlciilion  lo  |)erverl  tnlenl  to'  Ihc  purpose  of  "  mm  trade," 
and  solely  lo  rcgani  the  ai'quisition  of  unworlhjr  jraina— which  we 
ask  of  llic  candour  of  both,  epcaks  most  directly  of  locb  a  dtiire  - 
to  purlolu  Ihc  fruils  of  another's  genius,  end  transmuting  tbeir  shape 
but  preserving  their  essence,  nhciher  it  be  ilone  to  ridicule  or 
reduce  the  estimation  of  superior  mertl,  or  with  a  mere  viev  lo 
pecuniary  considerations — wliich,  we  ask,  is  the  mean  and  which 
(lie  honourabh)  part,  (o  do  *uch  actbiu  or  lo  expoie  Ihe  unwo^ 
thy  agent  to  the  obMrnlton  and  the  icora  of  the  poUic?  So 
stands  lite  case  between  Mr.  CaAiieft  and  ourselves.  Nor  arc  we 
Iraderi,  be  it  observed,  in  any  sense  of  the  term  in  which  he  is  not. 
On  the  contrary,  there  it  one  inlerprHation  of  (he  word  in  which  lie 
in  yet  both  accused  and  undefended,  that  wc  will  lake  care  sbati 
never  be  used  against  us  with  a  shadow  of  truth,  nor  remain  for  a 
tiiigle  hour  without  sufficient  lerulation.  Ifindeed  we  were  rcallf 
liable  to  any  Mriou  accusation  of  perveitiog  oar  indtnUy  to  gain, 
without  ngarding  the  nature  of  (he  means^  we  •honbl  not  lOMirt  to 
recrimination  ai  an;  ground  of  defence^  We  are  too  welt  swan 
of  ill  esiealiat  vulgarity-  as  well  as  weaknen.  Bat  with  no  Yiew  lo 
our  own  ezculpalion  from  a  charge  which  we  know  cannot  be  ibc- 
tained,  we  tell  Ub.  Cbambb  that  be  i*  Ibe  very  last  man  who  haa 
bd;  right  to  seek  refuge  in  aticb  acomatloiu,  and  we  ara  prepared 
to  prove  the  atsration  we  tiiiu  nok^  though  we  at  praaent  in  metcy 
■pate  him,  for  we  arc  of  all  things  most  detiroui  sot  to  My  a  word 
more  (ban  the  occasion  fully  warrants.  We  write  fat  truth,  not 
victory. 


S8t 


The  Siskn,  a  Dud  fvr  Izco  Performer!  on  one  Piano  Forte;  by 

W.  H.  Cutler,  Mus.  ISac.  Oj:on.    London.    CIcmenti  anJ  Co. 
Fra  Imte  angosde,  amatged  as  a  Duel  for  Itm  Performers  on  the 

Piano  Forte;  by  Aug.  Meres.    London.    Chappell  and  Co. 
Fiu  dold  e  placide,  arrans^ed  ai  a  Duel  for  tuio  Performeri  on  the 

Piano  Forte;  by  M.  Moss.    London.    Bircliall  and  Co. 
Cruda  lorie,  arranged  as  a  Duet  for  two  Performtrs  on  the  Piano 

Forte;  by  .V.  Nass.    London.    Pliillipa  and  Majhew. 
Jfinter's  Overture  to  the  Labyrinlh,  arranged  as  a  Duet  for  the  Piano 

Forte,  with  Accompaiiimenls  for  the  Flute  and  Viobmcetlo,  ad  libitum  ; 

by  S.  F.  Rtmbaall.    London.    Birclinll  and  Co. 
HaadeCs  Chorusset,  arranged  at  Duels  for  two  Paforraert  on  the 

Piano  Fortri  by  J.  F.  Bmrowei.    Ifui.  1,  S,  3,  i.  London. 

Gouldiitg,  D'Alniaine,  PoUcrand  Co. 

There  are  two  mudes  of  making  duets— original  fiomposilion  and 
amngeiDent  The  fint  is  now  (in  England  at  lead)  coropataliraljr 
"with  tbe  immenie  qQanlilioi  of  muric  given  to  the  worid,  become 
■oraewhat  rare,  while  the  Kcond  species  mnltipliet  upon  ns.  Of  the 
pnbllcallons  at  the  head  of  out  article,  one  only  is  original  (Ur. 
CoTLEn's)  the  others  are  arrftngemenls.  The  (hemes  seleeted  for 
lissons  of  this  kind  are  very  various,  and  huirever  susceptible  they 
may  be  of  more  iniiiulc  divisions,  it  should  seem  that  the  grand  dii- 
linclions  wtiidi  authors  seek,  are  moot  commonly  to  be  foand  either 
in  the  attractive  qualifies  of  a  melody  or  in  the  richnets  of  the  har- 
Dionical  CO mlii nations :  both  arc  seldom  united.  The  dnets  befor« 
us  pri'senl  specimens  liowcver  of  each  kind,  and  in  one  or  two  of 
them,  none  uf  the  requisites  witi  be  sought  in  vaia. 

The  Sisters  is  slight  and  simple  in  its  conalractton,  but  bold  and 
striking  BB  an  air.  11  is  amongst  the  eastetl  pos^I^  in  point  of  ex- 
ecution, yet  by  no  means  destitute  of  effect.  It  may  tlierafore  be 
GtMisidered  as  particnlarlj  desinble  for  very  yonng  performers, 
whom  it  Is  wished  to  ezate  by  the  stlmnlns  thai  attends  playii^  to 
hearers  who  will  hardly  fiiil  to  praise  with  warmth  and  sincerity 
what  pleases  them. 

IHr.  Mbtu's  theme  is  a  melody  of  great  beauty  and  elegance, 
(ind  it  is  gracefully  arranged ;  the  few  original  passages  that  are  in> 


822  imr  Hfctl. 

trodaced  went  rather  to  conDect  and  cmbdUiIi,  than  to  mrf  ot  Uad 
the  ear  Cnm  Ibe  main  aobject,  which  oont^  qnite  niffidcnt 
inilaelftoiendertbedaetverj-pleanngtbou^lij^  The  prind- 
pal  additioQ  b  in  the  form  ofa  csdeua  lowarda  the  clow.  Hb. 

MosB,  in  Piu  dolci  e  plaetdr,  tiaa  aUo  a  groundwork  of  great  bril' 
Ikncy  and  foBcinBtion,  boll)  in  tlie  chorus  and  in  llie  air  E  la 
qumdo  tornerai  into  whicli  it  runs.  Cruda  torte  is  not  bj  any  means 
BO  eSixliTe,  because  perliapa  it  bai  not  the  fullness,  although  not  defi- 
cient In  melody.  Both  Mr.  Mbves's  and  Ma.  Moss's  arrengemeots 
are  of  the  III  in  light  kind,  wliich  rely  for  their  support  upon  the  air. 

Winter's  overture  on  the  contrary  is  distingui^ed  by  force  and 
ricfanHB,  which  the  flute  and  violonoelio  accompaDimeat*  ineraua^ 
This  compodtion  is  in  thnt  middle  style,vhichdependtogtbTiUMip- 
pwtnpon  (he  stFeogth  of  tlte  orchestra,  does  not  aeieitherlesa  ahw* 
I'utely  disdain  and  reject  the  assistarxie  of  mdo^,  thongh  the  tnil* 
are  neitliertBDcifal  nor  predominant.  Wherever  melody  takeslbeM- 
oendancy,  it  is  smooth  and  agreeable,  rather  than  bold  or  ambitkms. 

Handel's  afler  all  ii  the  true  immortality.  These  things  of  Mr. 
Be BROWEg's  come  upon  the  enr  with  a  dignity  as  well  as  sweetness 
(liat  satisfy  the  judgment  while  (hey  delight  the  sense.  It  is  extremely 
difficult  to  cxpreEs  in  words  the  reflective  pleasure  that  immediately 
foliaws  in  (he  train  of  organic  sensation,  when  we  listen  to  the  miyetly 
ofhis  choral  music  or  the  sublime  simplicity  and  gaiety  of  hit  airs. 
We  are  however  always  conscionsofthesecombined  ga(islac(ions.  We 
knov  not  to  what  extent  Mb.  Bdkrowu  means  to  carry  his  selec- 
tions; Ihedemand  will  probably  afford  the  Ineuure;  at  present  four 
nnmbers  have  reached  us.  They  coiuiit  of  the  chorus,  "OthepUa- 
tttre  of  the  plmu"  from  Acis  and  Galatea,  which  is  to  rapturously 
chearful;  tiie  scarcely  lesa  eolivenii^  carUlm  choroi  from  8aa\, 
"  Welromt  Mighlif  King)"  (he  sublbne  Haiiehyah  from  the  Hei* 
■inh,  and  the- jl/nrcA  and  Glory  to  God  from  Joshua,  which  abounds 
in  descriptive  music  of  so  grand  and  awtul  a  character.  These 
themes  are  all  admirable,  and  they  are  very  efTcctiicly  put  together. 

Here  then  is  a  choice  for  the  student  lietweea  grave  and  gej,  and 
thi^c  thmgs  at  the  same  time  afford  the  means,  and  for  tlic  general 
piir[inM-,  a  competent  means  of  acquiring  a  knowledge  of  the  dilfor- 
eiic4.'!>  mid  dislioclions  between  tlie  several  schools  during  the  scqui- 
■ition  of  the  practice  necessary  to  make  a  piano  forte  pbtyer. 
We  purtioularly  iBcommend  to  the  obtemlioa  of  panata  and  pi»- 


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HTw  mnem.  223 

Gcplors,  that  by  judiciootly  selecting  the  progrenive  lessons  snbmitted 
toflicir  children  or  their  pupils,  the;  niBj'jUiroDghtbealflioitiBflllila 
variety  of  subjects  now  verj  ably  treated  as  lestoiu  lor  one  or  two 
performers,  complete  as  Ihej  go  along  the  knowledge  of  the  wrenl 
Bgnand  MhooU  of  mnric.  It  baa  long  struck  our  mind;  tbata  di' 
lectEon  fat  locb  s  conne  of  InitniGlioii  would  beemliuntlr  wM,  and 
wemajattomefatnreperiodendeBVOurtoUjdownUietradk;.  Intbe 
mean  time  perhaps  Boine  of  our  induttiioua  selectors  may  think  it  a 
fit  subject  for  a  separate  work,  and  we  know  of  no  one  more  capable 
than  the  gentleroao  whose  arrangemenls  of  Hakoel'i  Chomssea 
are  now  before  us.  Specimens  of  all  styles  in  tha  shape  of  prpgre^ 
sive  lessons  wouldt  we  doubt  not,  be  a  useful  and  an  acceptable  work 
holh  to  (he  public  and  the  profession. 

We  have  oaiy  one  word  more  lo,  say  coBcerning  Dneta—wliiini  is 
to  uige  upon  attention  the  steadiness  in  Ume  that  tin ptactiMConfeak 
It  is  veiy  important  to  giTC  m  csrlj  lid>it  of  keepLqg  strict  tim^  im 
order  to  prepare  the  ear  against  andKcnreitfrom  the  sednotions  and 
allurements  which  the  perpetual  changes  of  expression  in  the  wwkK 
of  modern  writers  fur  tbe  piano  forte,  now  voluntarily  and  necessarily 
accompanied  bj  such  licenses,  require.  We  arc  neither  disposed  ta 
despoil  u:nsibil  it  J  and  genius  of  their  late  acquired  preri^tives,  nor  la 
rob  science  of  the  permanent  laws  bj  which.it  has  so  long  governed 
and  must  still  continue  to  govern;  therefore  ite  say,  first  study  the 
rule,  least  (he  exception  being  previously  taogbt,  should  be  mistake* 
fbi  its  legitimate  application. 


A  Stria  of  Quadrille  SatOM  (lobe  amfkM  in  19  ^Tmtkn^,  ffe ' 

emaienf  Airiim.  London.   Cbappell  and  Co. 

Tlie  passion  for  dancing'  Qradrilles  introduced  into  tbii  coontrj, 
and  now  not  of  vny  long  itudbig,  bat  also  given  Inrth  or  adaiissiDii  to 
anoie  iateiMtby  tpecicaofcompoBitiou,  applicaUetodaacei,  iban- 
baa  em  bitbeito  been  Invented,  excspt.iiir  the  daacbg  of  tbe  stage. 
Quadrilles  indeed  nay  be  said  to  ImM  n  middle  place  between  tbe 


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^UADHtLLE  ROKDOf. 


practice  of  tbe  Ibeatrc  and  the  btll-room ;  for  while  they  stop  sborl 
of  tbe  extreme  agilitjrand  finiiK  required  in  the  pru.ieulot  (hepta  A 
deux,  they  yet  affoni  fat  greater  opportanity  for  the  display  of  indi- 
Tidoil  art  and  pereoQal  grace  than  oar  country  dance,  oi  cvbd  the 
old  French  cotillion,  of  which  the  qnadrille  i>  to  be  eonridered  as  an 
ezleiuion  and  improreinent,  by  the  more  frequent  inlertpertion  of 
solo  or  obtigato  pailj,  u  a  mniicEan  wouM  tay.  Thete  abort  and 
occaaional  pregenlationa  of  each  dancer  to  tbe  notice  of  tbe  ml,  havr, 
88  it  were,  something  of  dramalic  effect  as  well  as  of  senlimeni, 
\rithout  however  trespassing,  in  Ihe  remolest  degree,  upon  the  deli- 
cacy of  the  private  cbarncter,  or  pushing  it  to  the  exliibiliou  of 
those  qnalificalions  which  are  absolutely  iinliipfiiMlile  <u  public 
performance.  Hence,  while  the  dunccia  parlnkc  of  n  EuiScient  por- 
tion of  the  inspiration  which  regard  sumelhing  more  tlian  urdiiiary 
muat  call  up  to  give  animatian  and  zest  to  tliosc  clTurts,  nliilr  aha 
they  feel  the  stimulus  of  an  esertiaii  of  talent  thai  approaches  a  trial 
of  skill  with  those  who  are  at  once  companions  and  compalilon, 
there!*  the  protection  whicb  example  affordsand  the  shelter  of  num- 
ben  to  guard  them  from  too  prominent  a  part,  or  ftom  tbe  too  in- 
tense,  concentrated,  and  lengthened  gaze  that  attends  the  performance 
of  a  dance,  alone.  Hence  too  it  happens  (and  here  it  is  that  these 
premises  connect  them«elvr«  with  our  subjccl)  that  as  a  greater  por- 
tion of  sentiment  mixes  with  tlie  execution  of  tbe  dance,  a  greater 
degree  of  expressive  power  is  to  be  found  in  the  music.  Art  is  cre- 
ative of  art — and  accordingly,  we  now  find  a  series  of  musical  pub- 
lications branching  out  of  beautiful  subjects  for  quadrilles. 

Three  of  twelve  numbers  only  are  yet  published.— The  first  of  the 
set  is  by  Ub.  Bdkbowes,  and  consists  (like  tbe  others)  of  an  intro- 
ductory movement  and  roiidu.  Tbe  introduction  bears  less  .inalogy 
to  theairtban  ii customary,  but  is  principally  made  up  of  arpt^gios, 
convcmtioot  Iwtween  tbe  two  bands,  and  of  cadennt.  Ther^  ii, 
boweveTt  b  sweet  and  gtaoeful  passage  in  tbe  middle,  vbieh  makei 
if  as  a  whole  attnclive  and  shewy. 

A  Hondo  {in  this  sense  of  the  term)  is  a  composition  consisting  of 
theiubject,  which  is  diversified  by  short  alterations  of  its  component 
pasMga,  and  by  little  oiiginal  pieces  of  melody,  as  well  as  by  Irans- 
poaitiQiu  of  tbe  entire  theme,  to  which  theife  are  frequent  returns. 
Upon  the  beaaty  of  lh«  air  Hlected,  tlier»fore,  tbe  ezcdlesce  of  the 
Rondo  irill  mainly  depend.  Tilts  sutgect  is  certainly  iweet'  ami 


qUADIULLE  KOHDOI. 


well  managed ;  it  is  neither  (oo  easy  nor  too  difficult,  but  prcscnls 
altogetliet  a  very  ngrecable  little  divertimento. 

Mn.  Moralt's  also  is  very  [jkasing.  TNc  inlroilncliun  contains 
more  of  the  snbjcct  than  Mr.  BDitROtfEs's,  for  wliicli  reason  ve 
cooaider  Ihe  Rundo  to  be  more  legitimate.  The  theme  is  also 
•tionger  and  more  cflecliTe,  but  hardly  to  graceful.  Tbit,  faDwerer, 
deseivn  rery  mucb  the  same  chaiacleT  as  No.  1. 

No.d  u  by  Hr.Cai.rin,  who  has  made  the  compoBition  far  more 
his  own  than  his  predecesHira,  by,tbe  deviations  from  the  aobjecl, 
which  i«  niA  of  the  happiest.  Ma.  Calkin,  however,  is  much  more 
excursivp,  and  has  given  scope  (o  his  iavcnlion  in  a  grealer  degree 
than  the  others,  niid  makes  up  in  force  and  variety  what  (he  lesson  lacks 
ia  elegance.  These  Numbers,  as  it  appears  to  our  jndgemeiit,  run 
parallel  with  the  Operatic  Airs,  but  are  a  degree  lower,  both  in  their 
■tyle  and  in  theexecation  they  ask  of  the  perforaier.  They  are  light, 
easy,  and  britlianl ;  and  tbeie  are  Ihdr  (rue  chnracterutici. 


A  MoTtriag  and  Evating  Streiee,  amsitting  ofChanlt,  Te  Deum  Lou- 

dnimis,  Juhilide  Dro,  K^rie  EUeson,  Magnifieat,  and  Nunc  Di- 
nil/it;  also  Ttuailt/  Organ  Melodies,  adapted  lo  selected  parts  of  the 
Psalms  of  David,  and  Two  An/hems,  by  Charles  W.  Hempel, 
Orgnnisl  of  St.  Mary's,  Truro.    London.  Falkner. 

The  (,ly!e  of  Mit.  IIesipei.'s  compuRilions,  thongh  modern,  is 
chaste,  the  melody  is  flowing,  and  the  parts  sing  well,  if  perhaps  we 
make  a  slight  reservation  against  an  apparent  predilection  for  chro- 
matic pusagei  in  the  bass,  for  which  nevertheless  Mr.  H.  may  plead 
the  powerful  authority  of  Mozart.  His  work  begins  with  three 
Chants  (in  the  second  of  which,  by  tbewiy,  the[e.arc  consecu^ve 
fidbs,)  which  aiesotemn  and  impressive.  These  arefollowedbythe 
Tt  Deum,  in  the  key  of  C,  with  a  major  third.  Ootbewords"^o/j', 
holy,  holjf"  the  modnlation  u  not 'common  and  the  effect  beaatiful. 
Upon  the  mBtenee*'of  thy  glory  "  are  transitions  which  wc  first  ob- 
served in  a  Canzonet  of  Haydh.  "  When  thou  hadU  mxreome,"  iia 
VOL.  III.  NO.  X.  s  g 


donble  obiomatlc  panage,  in  t)ie  Italian  manner  [  and  the  vocd* 

"  Ever,  ever  "  are  a  tniuBcript  of  tbe  well  known  musical  phrase  in 
the  cbotnao{"ThehemtusarelelBng"iatbeCrenUoD.  We  do  not 
howerer  mention  tbete  things  as  derogating  at  alt  firom  the  composer, 
for  tliey  are  obviously  introduced  like  classical  quotiilions  into  pnwe 
writing,  to  gire  Ihe  double  force  of  allusion  as  well  as  natural  grace. 

I'lie  Jubilate  ia  well  set,  the  Ki/rie  sulenin  and  pathetic.  These 
are  followed  by  three  more  good  Chants.  The  Magnificat  ii  in  tlie 
key  of  E  flat.  There  arc  passages  excellent  in  point  of  modulation, 
in  both  this  and  the  Nunc  Dimittis,  which  ia  very  pleasing.  There  is 
however  one  in  the  latter  wliich  ia  objecliunable,  a  iliminished 
&{lh  reaoWed  (instead  of  descending)  into  a  (iflh  opwaidi,  and  this 
in  tbeextreme  parta.  The  Psalmt  are  generally  very  good.  "  CAko 
thee,  Q  Ood,"  a  full  anthemi  is  abore  mediocrity.  In  the  laat  bar 
bnt  one,  at  the  bottom  of  the  page,  is  this  combination, ' 

Bb  A 

Et;  B 

C| 

G  F 

Now  evidently  the  radical  bass  of  Ibe  first  chord  ia  C,  with  a  flat  7lh 
andaflatdlh;  therefore  the  C|  should  have  been  wiillen  D|,.  Sharps 
are  resolved  upwards,  but  here  Cf  is  resolved  downwards.  The 
Funeral  Anthem  opens  with  an  excellent  and  solemn  symphony 
and  the  words  "Mant/uUis  born  of  a  woman,"  areset  with  much  feel- 
ing.  Tbe/cdiowiug  words, " Inihemidtt  ofUfe  at  are  indetuH,"  are 
worlbj  of  praise.  Tbe  solo,  <*  For  thy  rtst,"  it  a  aweet  and  expm- 
aire  movement ;  and  the  whole  anthem  does  tbe  author  credit. 

In  several  passages  of  his  service  Mn.  HsHPELdisregard*  the  rule 
which  regulates  tlie  resolution  of  the  seventh.  There  arc  very  many 
ascending  seveutUs — this  is  directly  against  a  classical  canon ;  at  least 
BO  says  KoLLHAN,  whose  Iheorjr  has  not  yet  been  confuted,  nor  do 
^  we  fbinit  it  likely,  that  a  more  perspicuous  sjrstem  will  soon  appear. 


887 


JadiA,a  Soared  Oratatiot  in  tcort;  wrUlia,eompOied,  and  adapted  ttf 
ate  Warh  ofHaydn^  A/ourf,  mA  Beethmen,  by  Wmm  CfmdhKr. 
London.    Clementi,  Btrchall,  Proton,  Oonlding,  Cbsppell^'and 

the  Hatmanic  Institalion,  &c. 

Mr.  GAnDtNKE  is  alreadf  well  known  to  Ibe  pobtic  as  the  Editor 
of  the  Sacred  Melodies,  (be  compilation  of  wliich  it  appears  gave 
birtli  to  Judah,  since  it  waa  in  the  progress  of  that  selection  that  the 
maleriala  for  the  present  work  were  accumulated.  In  Iheescculion 
of  his  design  of  rescuing  sume  of  the  latent  beauties  of  Ibese  great 
Masters  from  partial  obsciirHj,  it  seems  io  us  that  llie  learned  Editor 
has  lonered  the  interest  of  tlie  Oratorio,  the  general  nature  of  the 
wards  he  faai  adopted.  In  bis  preface  he  sBya,  he  "  haa  found  it 
neceuaryto  deviate  in  some  degree  from. the  nnial  plan  of  Ibeae 
com  position!.  Btnsic  of  ibis  description  is  considered  as  a  sort  of 
Sacred  Drama,  and  a  certain  limitation,  as  to  snbject  at  least,  has  in 
conseqaence  been  observed  b>' composers.  TbeiS^ateoialdenMon 
will  however  be  sufficient  to  shew  ihnt  this  dramatic  character  of  llie 
Oratorio  is  altogether  ideal :  that  its  interest  depends  in  no  degree  on 
the  progress  of  the  action,  but  on  the  expressive  or  imitative  power 
of  the  music,  and  that  the  subject  is  of  no  other  importanre  tlian  as  an 
index  of  the  sentiment  or  action  intended  to  lie  espresscd." 

"  Instead  therefore  of  confining  himself  Io  any  single  event  of 
sacred  historj,  which  the  great  variety  of  his  materials  rendered 
oenrly  impojisible,  the  author  has  selected  at  pleasure,  from  all  parts 
of  the  canon  of  tlie  Old  Tetlaroent,  auch  passages  as  appeared  to 
bim  most  snalogons  in  sablimi^t  patho^  or  iKaotT)  <o  the  cbamcter 
of  the  mnsb  to  wliiob  thej  were  to  be  applied." 

We  dififer  from  Mb.  Gardihbb  upon  the  extent  of  Uiesc  sweep* 
ing  auertions,  which  may  not  liowever  be  thonght  entirely  withont 
FoandBtion.  That  an  oratorio  can  never  derive  the  same  inferert 
from  its  fable  or  its  dramatic  conduct  a  poem  or  a  play  enjoys,  we 
arc  quite  ready  to  admit,  but  we  presume  it  will  scarcely  be  denhsd, 
that  these  accessories  must  always  bestow  consistency,  force,  and  cha- 
racter, and  io  whatsoever  degree  tii^'  add  these  stimnlnnts  to  atlen- 
lion  and  incentives  tO'  the  emotions  which  the  Tariona  incidents, 
images,  ntaations>  and  perso^Gcations  nqtmall;  nise,  by  to  macb 
G  g  2 


Digilizefl  Dy  Coogle 


JUBU. 


do  the;  tend  to  rendor  Uie  vliok  composition  mortt  a((ractiv«.  In  a 
cue,  therefore,  wherem  it  is  almost  equally  my  to  fnnt  b  I^ilE- 
mats  poem,  it  obrioDsl;  derogatea  from  tlie' merit  as  wdl  u  tlie  cx- 
cellcDve  of  the  performance,  to  be  content  and  to'  take  up  with  de- 

tacht-d  and  nlmo^t  uiicomicclMi  portions  of  ECriptorc,  (bough  Ike 
Messitth  aiaj  he  qiiotcil  as  nutlioritj'.  Hut  we  Itave  atrcadj  dis- 
cussed tins  brancli  of  the  subject  \n  our  Review  of  Dr.  CiioTcii'a 

Pidiilim-."  ;tiid  slinil  Ihurefore  proceed  lo  llie  particular  merits  of  1  lie 

holding  t^in  be  iiiijii'  Uiriv  llrin  (liu  entire  stmcture  of  the  words. 
This  firal  part  contains  isolated  historical  pasiogcs  from  the  depar- 
ture of  Abraham  for  Canaan  to  tlte  destructioa  of  Ibc  Midiaiiilei> 
Air,  duet,  and  cborua  anccoed  each  otber  nithout  lmpl;rii>^  any 
character,  except  that  of  the  narrator  himielf.  The  coixequence  ef 
this  arrangement  is,  that  there  ii  frequenlljt  conaiderable  conruiion 
between  the  persons,  as  for  instance  in  No.  the  irords  of  which 
run — "  Father,  ne  adore  iAm  and  worship  (Aer,  0  God  most  high. 
Holy  Lord  we  worship  thee,  l\a\y  Lord  God  of  Hosts.  Glorify  ha 
name,  glorify  him  for  ever."  The  transitions  become  even  worse 
na  the  chorus  proceeds.  This  careless  disregard  of  common  propri- 
clics  cannot  but  be  injurious  to  the  general  elTcct,  and  manilc^ls 
strongly  the  necessity  of  a  consistent  design. 

No.  !•  Is  a  recitative  accompanied,  commencing  with  five  barsaf 
Spirited  introdactory  symphony';  but  the  style  is  not  that  of  sacred 

No.  2.  A  fine  chorus  of  HATDH,forvhicti  wards  of  adoralioh  and 
praise  are  chosen.  A  fugue  is  led  off  eflecliTcIy,  with  "  Glorify  hb 
name  for  erermore,"  and  the  music  is  throughout  grand  and  imprec 
live.  Neither  the  extreme  poroty  of  the  piano  forte  pari,  nor  the 
errors  to  be  found  in  it,  can,  however,  be  passed  over  without  notice. 

The  short  recitative,  No.  S,  commences  and  is  conducted  very 
ungracefully  with  respect  lo  harmony. 

No.  4  is  a  slow  nriit,  uf  a  smooth  and  gentle  cast  of  melody,  but 
injudiciously  inlertarded  with  common<place  oinamenls.  The  chro- 
matic passage  upon  the  syllable  in  is  of  this  nature.  The  passage 
beginning  in  the  lirth  bar  of  page  34,  before  the  words  "  a  silent 
praise  to  Jehovah's  name,"  and  repeated  in  an  embellisbed  form, 
is  however  inteieBling  and  lelicitous.  The  woidi  are  very  feeble. 
VolonM  I,  pagi  4S5. 


229 


No.  5  U  a  recilaliv«  wUh  Atremmdo  accompaniment,  wLicli  lliere  is 
notbfng  in  the  word*  to  varrant.  The  barmonj'  too  is  verj  ill 
managed.  ]n  llie  concluding  part,  marked  Imto,  at  (he  nords, 
"  (hen  Abraham  fell  down  and  glorified  God,  flie  modnlalion  from 
F*  minor  lo  D  ranjor  (ihc  kej  of  ihe  snci-eeding  sir,  irlierein  the 
bassoons  glide  genlly  nlong,  and  the  first  violin  moves  in  sjrncopaled 
notes),  is  swcl-I  and  attractive;  l)ut  llie  metod;  is  borrowed,  without 
acknowledgenicnl  from  Handel's  "  Hoa  beautiful  are  the  feet,"  anA 

No.  (i.  Arin,  aihgio  impassionato,  from  BBeniovEN,  "Eiernnl 
God,  Alniighly  power,"  is  gmcefuilj  solemn  nnil  devotional.  TIjo 
expression  of  llm  word  "  Eternal,"  placing  (lie  accent  npon  Ilie  first 
syllable  is  faMlly,  wliicli  howtvtr  is  licrc  ilone  hy  giving  ihc  word 
three  crotchets,  t\\ajint  of  them  beginning  the  bnr.  In  the  ctiurus 
which  follows,  upon  theutne  Ihemc,  (he  words,  "  his  awful  tlmndcr 
■hakes  the  sky,"  are  judicioQslj  applied  to  a  fine  Ininsitian  from 
minor  into  major,  at  the  8d  bar  of  pnge  40.  Throughout  the 
entire  morament  (he- words  are  well  auited  to  (he  composition but 
the  word  '*  Amen"  ii  repeated  at  the  conclunon  in  a.  manner  almost 
ludicrons. 

No.  7.  "  When  I  think  upon  thy  goodness,"  an  elegant  niia  of 
IIayds,  perhaps  n  Hltlc  too  familiar  for  the  style,  to  which  the 
words  iirc  wd)  joined  in  senlimcnt  and  expression,  "  When  in  grief 
my  heart  was  broken,"  is  pnthefieally  given,  especially  when  (he 
words  recur  thi:  lliird  lime,  in  the  4(jlh  page. 

No.  8.  ilc'cltativi'.— The  worils  "Thy  name  sh.ill  be  called 
Israel,"  are  expressed  willi  grandeur,  and  the  Kemi(onic  modulation 
immediately  following  ii  energetic  and  interesting,  applied  to  the 
conclusion  of  the  sentence,  «  And  ns  a  Prince  thun  hast  power  with 
God,  and  shalt  prerail  over  men." 

No,9.  Choma  of 'Hatdm,  in  the  free  atyle,  (o  the  wonlt  "For 
With  atiength  he  glideth  me,  and  giretb  Oiem  the  shidil  of  rigbleaut- 
ne«s,  Amen." 

The  plural  pronoun  "  them"  has  no  obvious  antecedent ;  the  rep©- 
lition  of  "  me,"  instead,  would  render  (he  sense  clear.  "  He"  (the 
Almighty)  "  girdeth  me  with  strengih,  and  givcth  me  (he  shield  of 
righteousness."  This  chorus  is  in  fugue,  well  chosen  for  the  wonis, 
upon  a  bold  and  aniiaaledsnbjeet. 

Iioiig  and  complicated  dlviiionS  in  brisk  time  on  Jmen  arc  not' 


conustent  with  ideu  of  loleiBiiitj:,  and  a  mIo  »f  Ibia  ^nd  htH  »  fn- 
volovs  effect  In  the  Slit  and  5*1  pagei  nlndaM  ban  of  mlo,  like 
solfeggi,  abounding  in  quavers,  are  given  to  the  loprnao  nice  opon 
tbc  vowel  A,  and  eighteen  bars  of  the  seme  description  in  tlie  ^th 
onJ  37lh  pages.  Wc  may  observe  also,  that  the  modern  continental 
composers  are  rcmarhablc  for  carryiog  their  descant  for  the  alio 
voices  very  liigli.  In  the  first  chorus,  "Father  wc  adore  t lice," 
and  in  the  chorus  nc  now  survej,  C  and  D,  (ilie  third  space  and 
fourlli  line  in  the  (rclilc  slafT)  are  freqaently  given  as  prolonged  notes, 
and  are  cerlainlj  Leyoiul  Uie  ordinary  and  legal  extent  of  the  ge- 
nuine coDtrn-tenor  voice.  Where  tones  of  this  altitude  are  em- 
plojed,  it  were  more  proper  to  term  the  part  a  second  treble,  or  racao 
soprano,  and  adopt  the  clef  appropriate  to  it. 

The  first  eight  ban  onl;  of  No,  II  are  announced  to  be  from 
Haydn,  and  Ibese  can  be  bj  no  raeoDi  esteemed  antong  hi*  baiqiiat 
thoughts.  Upon  them  are  engtaned  bowever  a  tissutt  ot  tbreadban 
passages  from  worn  out  dramatic  bravurot,  and  amongst  others  from 
Braham'b  polncca,  "  No  more  by  sorroai."  The  entire  composi- 
tion is  in  the  very  worst  taste. 

No.  12,  Recitative.  "  Now  Israel  obeyed  the  voice  of  the  Lord," 
&c.  and  Israel  said  nnto  Joseph,  "  Now  let  me  die,  since  I  have 
seen  thy  face  who  yot  art  alive." 

The  author  has  given  true  pntliclic  expression  to  the  words, 
"  Now'lel  me  die,"  &c.  and  the  transition  from  the  melancholy  cha- 
lactet  of  the  minor  mode  to  the  cbeerful  one  of  the  major,  conveys 
the  sentiment  of  joy  tiiii  Joseph  ii  **  yet  alive,"  with  impressive 

No.  13.  "  Bear,  O  Ihon  ihepberd  of  Israel ;"  a  pretfy  duo.  In  a 
calm,  smooth  style  of  movement.  Inbar  lithsohordof  tbeseventb 
is  clnmsily  disposed  uf.  The  harmony,  which  commences  in  page 
68,  is  not  at  all  suited  to  the  general  simplicity ;  and,  besides  its  pro- 
per defects,  is  deforiticd  by  the  very  impartanl  omission  of  dn  F 
natural  throughout  all  tlie  parts,  vocal  and  instrumental,  in  the  Gre 
6rst  bars,  and  of  a  B  flat  in  the  second  bar  of  the  dute  line. 

No.  14.  Ri'citative.  "  Now  there  arose  a  new  King  over  Israel," 
folUiMcd  by  No.  15,  a  chorus  from  Matdh;  the  words  to  which 
begin  as  HANDBi.'a  first  affecting  chorus  in  the  oratorio  of  Israel  in 
Egypt:  "  Then  Israd  sighed  in  boniloge,  and  their  cry  came  op  to 
God."  Part  of  the  oddilioaal  words  are,  "  And  the  Lord  did  not 


JSD&B.  831 

dcMrt  them ;  and  hi  p.  73  ve  Sad,  *'  Nts  bs  Aid  hot  detcrt  them— 

nO)  no,  no."  This  emplojimeat  and  repetition  of  the  negaliva  par- 
ticle ii  not  in  good  taste,  but  bos  a  puerile  effect.  Our  great  Fira- 
CBLi.,  it  most  be  ownetl,  lias  many  examples  of  it  in  liis  secular 
Bongs,  and  even  (hero  it  often  becomes  ludicrous.  In  sacred  com- 
positions it  is  (her^oK  niwe  objectionable. 

No.  16  is  a  most  elaborate  recitative  accompanied ;  the  words  of 
which  ate  again  similar  to  tboie  in  Israel  in  Egj'pl)  where  some.of 
the  chief  prodigies  are  recorded,  and  which  furnish  the  matter  of 
several  noble  chomsses.  Tlus  idenlil;  of  choice  in  scleclion  savonrf 
of  designBd  corapetilorsbip.    We  subjoin  the  whole  passage : — 

"Thenient  Hoses  bis  servant  whom  he  had  chosen,  to  shetr  sign* 
among  them ;  and  be  spake  the  nord,  and  fire  and  pestilence  smote 
aU  the  land.  Bal  as  for  the  people  of  Israel,  he  brought  tbero  out 
Milh  alnr  and  gold,  and  led  them  through  the  deep.  Pharaoh  and 
his  host  Qiuaned  them  vitii  boraea  and  with  chariots  info  the  sea,  bat 
the  sea  arenrhelmed  them :  ibej  sunk  as  lead  in  the  mighty  waters." 

In  page  80,  the  melo<Iy  (in  andante  measure)  to  the  nonls,  "  He 
brought  them  out  with  silver  and  gold"  is  Gingulad;  happy  and 
beautiful. 

Handel's  expression  of  "He  brouglit  them  out,"  &c.  is  given  in  a 
bold  choral  fugue,  and  "  lie  led  them  lUruugh  the  deep"  is  a  double 
chorua  in  fugue  of  the  most  sublime  nnd  eruililc  complexion. 

The  pursuit  by  Pharaoh  aud  his  iiust,  nnd  (heir  destruclion  by  the 
overwhelming  waves  are  events  of  triiicli  llic  author  is  aware  that 
inutatire  description  is  expected.  Tlie  slriiigcd  instruments  are 
made  to.  proceed  in  a  rapid  descent  through  two  semilonic  octaves, 
and  the  words  **T.hey  sank  as  lead  in  Hie  roigltly  watcia"  have  an 
Bccompanbnent  invery  slowtimCtCoosisling  of  five  bars  in  arpeggio, 
the  violins  and  basses  proceeding  in  contrary  motion.  The  state  of 
the  last  bar  but  one  is  totally  inexplicaUe,  ns  tlic  chord  of  the  do* 
minant  remains  Ihrotighaut  the  violin  parts,  but  changes  from  th* 
dominant  to  the  tonic  In  the  bassoon  parts,  as  in  the  former  tmr.— 
The  D,  and  the  G  tvithout  A'^  in  the  last  bar  of  the  organ  pari,  nrc 
also  glaring  errors. 

As  all  the  recitatives  are  set  in  the  treble  or  G  clef,  uc  cannot 
readily  ascertain  whether  the  author  designed  any  of  them  for  u 
leoor  voice :  if  the  present  recitative  be  intended  for  a  soprano,  the 
larttwo  notes,  placed  nntlei  three  added  lines  are  beyond  its  liatlt,. 


Digitized  by  Coogle 


833  juDiH. 

and  if  designed  for  a  tenor  the  case  u  (lie  anme,  as  no  tenor  voice 
{and  very  few  basses)  can  give  to  P.  bcluw  gamuta  clear  inlonalion. 

No.  17,  a  chorus  from  Hatd» — is  a  spirited  and  liriltiant 
movement.  The  accompaniment  is  in  semiquavers,  and  but  ill 
assorted  with  the  vocal  subject  which  is  fugue.  The  main  oQlline  is 
nervous  and  forcible,  but  wc  should  almost  douhl  ivhcthcrllieaccom- 
paniiDcnl  is  eiacllj  as  IIavon  wrote  It. 

In  the  9Isl  page,  the  Jlh  bar  of  the  vocal  score  appears  iu  a  slate 
wliich  wc  cnnnot  bdieve  IIavdn  ever  inlenJeU. 

In  the  same  page  the  ja.iction  of  all  llie  vuiccs  in  unison  is  a  mag- 
nificent feature.  In  the  7th  bar,  of  the  same  pagi%  fal^e  liarmonj  is 
produced  at  the  third  crotchet  in  the  bnr,  the  voic(.'5  liaving  (he  triad 
of  the  dominant,  and  the  initrumcnts  the  discord  of  >  at  the  same 
time.  This  cboins  is  in  (he  key  of  D  major;  the  preceding  redta- 
live  had  temtinated  in  £!  major;  and  the  sudden  removal  from  the 
key  by  a  dtalonio  degree  ii  extremely  hanh  and  extraDeoo*. 

The  alto  part  is  set  tremenilously  high  in  this  chorus ;  it  leads  (be 
subject,  commencing  on  D,  (the  4th  treble  line)  and  much  of  its  ge- 
neral progression  is  upon  line's  aililcd  above  the  stalT. 

No.  19.  A  chorus,  "Arise  O  Judnh,"  from  Haydn  ;  nlsoachear- 
ful  anil  inspiriting  movement,  with  an  escellent  duublc  fugue,  bc- 
giniiiui;  ill  p:igo  97,  Lipun  the  words  "O  praise  him  for  evermore, 
Ami^ii."  In  pngc  101,  llie  llh  bar  is  rendered  a  mass  of  confusion 
and  falseliuod  by  the  tiutes  erruncou^ly  given  to  the  alto  part,  and 
which  belong  to  the  next  bar  only,  whereas  in  tbelth  bar,  the  voice 
ODgbt  to  be  silent  till  the  Slh  quaver.  The  sopnina  voice  is  carried 
up  twice  to  the  formidable  height  of  Bb  above  tfae  ilaff  in  ban  9^ 
page  10  of  the  same  page,  and  the  counter-tenor  is  aba  raised  to  an 
allilude  atterly  nnaltainableby  any  male  voice.. 

No.  80.  Aria,  (first  eigbl  bars,  Hatdn,}  "Oaing  praises  to  tbe 
Lord  with  cheerful  tongue ;"  this  is  far  from  a  happy  adaptation ; 
fbe  (heme  of  the  movement  is  in  a  smooth  and  tmnqull  st^lc,  not 
ezpmsive  of  exultation,  and  the  commencing  words  arc  awkwardly 
distributed  among  the  melody.  The  word  "tonirup,"  at  best  but 
nn  unmanageable  ffliinosjUnblc,  in  tlie  fi.st  liar  of  page  lOi,  is 
drawled  through  a  mi  aim  and  four  quavers.  In  (he  next  b:ir  but 
one,  the  short  conjunction  and  has  seven  noics  assigned  Iu  It.  In  bar 
4|  of  page  105,  a  shake  upon  the  word  "  power"  is  not  a  judicious 
etnbellLshmentj.and  an  offisnsive  barsbness  ocean  in  the  last  bat  of 


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juDAH.  '23.'} 

the  same  page.  Upon  the  word  *'  note"  ia  lavished  a  great  profu- 
aioaotnota  in  pages  108  and  109;— ten  the  first  (ime,  fifteen  the 
Kcond,  anil  tliidy  the  Ititrd. '  This  air  is  alao  of  immense  compats, 
■nd  a«  a  vhole  must  be  acknowledged  tn  possess  much  las  claim  to 
commendation  than  anrafthealhen.  The  words  are  vietched. 

In  the  recitative^  p.  Ill, at  the  sixth  Inr,  Ihenataralin  thcToice 
part  is  superfluons,  and  (he  sharp  in  tlie  violin  patt  is  false. 

,Tlie  air  (Larghcllo),  No.  2S,  is  of  a  very  heavy  cast,  containing 
■very  titlleofinleresling  Iransilion.  Tlii;  progression  of  ihe  harmony 
through  six  bars,  beginning  at  the  sixth  of  page  113,  affords  a  slight 
exception.  One  of  the  divisions  at  the  bottom  of  page  1 14,  ia  taken 
from  Makcbllo's  Piialm,  (appended  to  Quidcaielmte),  and  the 
repetition  of  the  words  "  U>  them,"  in  the  nest  page,  four  times,  is 
very  bad.  . 

No.SS.  Charaslrom  Havdh.  "  Nowelevalethesignof  Judab." 
The'  chief  feature  of  which  is  joyous  and  enlivening.  The  voices 
lead  off  in  unison  with  imposing  effect;  end  the  contrast  in  the  soli 
parts  at  the  words,  "  O  desert  us  not,  O  Lord,"  is'  afiecling.  A 
dotted  minim  is  applied  to  the  short  particle  *'  not,"  in  the  tenth 
bar  of  p.  1 17,  which  if  sostained  for  its  prescribed  time,  changes  the 
sound  of  the  word  to  naughl,  with  absurd  effect :  it  is  always  best  to 
apply  a  note  of  short,  duration  to  a  short  word.  This  chorus  is,  on 
the  whole,  a  masterly  arrangement. 

No.  2i.  Rpciliifive.  "  And  tlic  Lord  said  unto  Joshua."  An 
ingenious  ciirn position  of  Fbmy;  in  the  score  of  which  the  plates 
have  been  sadly  neglected.  The  voice  part  begins  in  the  key  of 
but  neilhcr  B  flat  nor  E  flat  is  inserted  in  the  line  belonging  ta 
it  until  the  fourth  bar,  although  both  are  requisite  in  the  two  first 
bars.  In  the  lS4(h  page,  at  the  tenth  bar,  opo  of  the  most  offensive 
blunders  imaginable  occurs,  from  the  gratuitous  insertion  of  a  sharp 
in  three  several  placed,  and  a  false  chord  in  Ihe  pianoforte  part. 

To  thisrecitative  succeeds  anothershort  one,  "Who  can  withstand 
thepower  of  theLord,"  (No.  25)  introducing  No.  SB,  a  quartette 
from  MozAitT,  "  Blessed  are  they  that  wail  for  him,"  a  simple  but 
elegant  strain  of  melody,  to  which  the  Iranquil  sentiment  of  the  tvurJs 
is  perfectly  suitable. 

No.  sr.  Reciiative— "  The  host  of  Midian  prevailed,"  and  fol- 
lowed by  the  concluding  chorus,  (No.  S8,)"Thearm  of  the  Lord 
isupon  thoni,"  from  Haydn,  a  grand  movement,  commeocinf  in 


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0  minor,  trilli  awful  woidi,  applied  la  Ihe  derfniction  of  tlu)  Ul> 

(liuniies,  and  precisely  coincident  wilb  the  intensely  energetic  cba- 
jaclvr  and  couducl  of  iiie  muslcul  campotiliou.  AfteriVBcdB  followa 
a  con*ola(or/  VL'rsf,  "  Tlic  Lord  be  will  fiBVe  mercy  in  peace,  he 
kcepclli  Zion,"  ivilli  an  appropriale  change  of  style  in  (be  major 
mode  of  F  fur  30  bars ;  (Ijen  tlie  former  fulminating  subject  ii  re- 
■umcd  fur  4S  bars  more,  nnd  ngain  tlie  welcome  contrast,  appearing 
now  in  llie  major  mode  of  D,  wliicb  is  continued  totlic  termination 
of  tills  masterly  and  iiiiprciaivC  ctioruH,  and  tvilli  wbicblbis  first 
|)art  of  tlie  oratorio  concludes. 

Our  readcTS  may  linve  obaerved  that  we  have  noticed  only  a  few 
typograpbic  erron  in  146  pngei,  which  may  appear  a  little  exlra- 
ardloary  to  any  accurate  motician  who  lias  perused  the  score  tlie 
volume  with  clow  attention.  We  are  cumpelled  by  truth  and  duly 
reluclantly  (o  acknowledge  tfie  cante. — Mistakes  of  the  preu-were 
faiind  so  numeroni,  that  to  have  pnrticulariied  them  indiTidaBlly 
would  have  been  an  endless  (ask. 

The  praise  to  the  Editor  wc  are  thus  afraid  mus'l  be  limited  to  the 
design  of  giving  exlcmiud  piihlLciiy  lo  v.iliiablc  pnrls  of  the  works  of 
greatconipoficrs,whicli  nrc  mil  likely  tube^cncrully  known  in  their 
original  shiipe,  for  the  eseciiliun  betrays  tlie  inadvertency  of  haste 
Ihrnughout — a  fault  weare  quite  uilliiig  to  attribute  to  the  zeal  of  this 
sincere  promoter  of  the  arl. 

Wc  trust,  thnt  a  candid  admonition,  cordially  well  meant,  will  not 
be  ill  received,  and  that  wheneror  (be  two  remaining  partat^tbe 
oratorio  of  Judah  shall  appear,  a  more  tasteful  sdeclion  of  woida  and 
Ihe  correct  arrangement  of  valuable  materials  will  Hcore  both  ap- 
probation andencouiagemcnt  to  the  work. 


The  Song»,  Duels,  and  Gleet,  in  Shahtpeare't  Play  of  Taelflk 
Night  i  Ike  Words  sflecled  entirely  from  SfuJcespeare't  P!ajft, 
Poems,  and  Sonnets  ;  the  Afasic  composed,  tdaled,  and  arranged 
for  the  Voitr  and  Piano  Forle,  tit/  Ilrnry  R.  Blihop,  Composer 
and  Director  of  the  Music  to  the  Theatre  Poyal,  CotenI  Garden, 
London,    uouldiiig  and  Co. 

So  mucb  liBS already  been  said  upon  tlic  sulijcci  iif  I  jiglisb  f>[)<.viii 
mi)  (be  iiitcrspcttioii  of  rauHic  in(o  Sliakespearv's  jilnjti,*  tlial  itc 
maj  at  once  proceed  U>  the  merits  oT  the  pieces  bcrore  us.  Tlieie 
are  not  wetbinkors  common  «rdcr.  A»  Ma.  Disiioi<  relBses  in 
bb  Ubouri,  his  genius  and  Iiis  Tcfleclion  Increase  (lie  vigoiir  of  hit 
style  and  the  fclicily  of  Ills  clioice  in  ndaplatian,  a  consequence 
which  ii,  we  Micre,  almost  (he  necessnry  result  of  ml  upon  minds 
of  anj  natuml  slrengtli.  The  oTcrture  is  pcrlisps  tlie  weakest  part 
of  the  whole,  being  rcmarltalilc  fur  no  iiatliciilnr  rtnliirn,  TIip  first 
song  is  an  expressive  cnm|insition,  very  singular  in  ils  Btruclntc, 
principallj  so  pcrlinps  bcciiiisc  the  pnssngcs  have  lilllc  apparent 
connection,  few  ai  ilicv  arc.  The  second  piece  is  a  glee  for  fiTe 
ToicL's,  Ihc  firsl  pnrl  a.iuplcil  from  Ravenscroft,  (wliO  wrole  in 
If)l4)ant!  Ilie^ecnncl  fruin  Muai.Ev'^old  madrigal,  "  Now  it  the 
month  of  Moving,"  uritfirri  in  1505. 

A  duct,  "  Orpheus,"  follows,  and  here  Mn.  BisKOP  has  worked 
upon  his  own  plmi  in  llit  duct  "  As  it  fell  upon  a  day"  "  TAe 
Comedy  of  Errors  ;  but  wc  do  not  quarrel  with  it  on  that  account, 
for  it  i>  a  clever  and  original  strain  of  writing,  suited  to  the  air  of 
the  enliro  cocnedj'  and  its  appended  mnsic. 

"  Come  o'er  the  Brook"  is  Foan's  '*  Since  _frsl  f  taayoitr  face" 
and  the  third  movement  of  Dn.  Gallcott's  "  Mark  llie  merry 
£AiFt,"  combined.  Mn.  Bisftop  has  however  put  a  verj  pleasing 
Hccompanimcnt  for  llic  Harrauuica  to  the  last,  whicli  grcatljr  ang- 

Thc  glcE  wliitii  r,)lli,ivs,  "J  cup  of  Kmc,"  sounds  c.ruilc  and 
coarse  ni^er  the  iLijIit  ni.Oody  « liicli  prccL-ilcs.    How  much  more 
happiljF  lias  Eccirs  tieali.':!  the  cuncluJiiig  wordii,  "  It'inc  girti 
the  tlate  hxt  liberty,"  in  Lis  line  old  duN,  "  Fill, fiU,  all  line  glasses  " 
*  In onr  second  TDlunir,  at  page  347,  and  ioonr  preteal nunibsr. 
H  h  2 


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236 


TWELFTH  MOHT. 


"  Take  all  mtf  tovet"  owes  (oo  much  to  ihe  latent  recolleclion  Mh. 
BjsHOF  pTObabl^enterlainiof  Wherefore  safei  maid  sigh  yon  so" 
a  song  of  his  own.   But  it  ii  on  the  whole  a  picnsing  air. 

Cesarh  iaan  adaptation  of  Winter's  duet,  "Tireggo,  t'abbrae- 
cio,  from  II  Ratto  di  JProserpbm,  nith  howerer  a  long  superadded 
cadenza,  in  duet,  which  is  somewhat  new. 

"  O  by  rivers"  is  Wilbow's  "  From  the  fair  Leaitiian  shore"  with 
a  fal  lal  la  by  Saville,  "  O  Aoe  much  more  doth  'beauty"  is  just 
preltj,  but  it  is  cerlainly  not  improved  by  the  common  place  orna- 
ments the  composer  bas  (lioiiglit  right  to  allix  in  extra  sl.iiTs. 

"  Ciiihb((Uige  imd  ijniilh'"  is  .so  slroiigly  associated  ivilli  Stj:ve\s's 
rii|i[lv;,li!i-  -ici;  I..  (1„.  .s,i[,ie  ivoids,  that  Mu.  Uisirop's  quaint  air 
dui'S  n.-t  ].roiliicc  its  due  eliecl  perhaps.  This  song  loo  is  ck'fnrmcd 
by  a  tawdry  accompanied  cadence.  We  admit  tbot  these  things  are 
purely  dmmalic,  but  still  they  are  encouragements  ofa  vitiated  taste. 
In  this  case  (he  music  is  certainly  suited  to  tbe  tvords — ihou  slayesl 
loo  long,  is  pmcticftlly  true  in  more  senses  than  one,  and  tbe  woisl  is 
(hat  which  appertains  to  the  composer  wbo  thus  plays  upon  (be 

By  far  the  best  song  in  the  piece  is  that  which  succeeds,  "  Bid  me 
discourse ;"  and  indeed  it  is  so  excellent  that  in  our  minds  it  far  es- 
creds  any  tbing  in  its  kind  that  has  lately  appeared.  There  is  an 
airy  and  elegant  spirit  Ihnt  breathes  through  tbe  wbolc  extremely 
fEisciiialiiig,  besides  ^rhich  it  is  not  less  chaste  than  cxpicsiive.  We 
liave  heard  it  again  and  again  with  renewed  delight. 

Tlic  next,  "  Jl'hen  iliat  I  mas  a  Utile  liny  boy"  is  very  quaint 
and  lively,  and  Ibus  tbe  music  concludes. 

From  our  detail  it  will  appear  that  there  is  but  little  ofabsolMlely 
new  matter,  but  what  there  is  appe.irg  to  us  to  be  excfllrnt ;  nliilc  in 
the  adaptations  Hr.  Bishop  has  manifested  good  taale  by  choosing 
compositions  of  a  date  Itiat  best  accord  with  the  manners  of  the 
drama  upon  which  bis  selections  are  engrafted.  Such  Bubstitutiotu 
however  continue  (o  imply  that  pause  in  art  which  we  have  before 
lemarked  and  endeavoured  to  account  for,  and  at  present,  unless  it 
be  in  the  natDTal  activity  which  succeeda  a  season  of  repose,  we  see 
no  cause  that  is  likely  to  lead  to  a  reoovalion  or  to  a  production  of 
operatic  power.  Late  events  may  perhaps  have  for  some  time  a 
contrary  tendency. 

One  woril  more.  We  doubt  very  much  whether  the  subslitnUon 
of  tbe  bass  Sat  (be  C  clefs  aniwen  the  intended  purpose  of  &  *<  read- 


CLEMBHTl'i  CAPRIGClOg. 


ing  made  easy"  to  tlio  tenor  eingcr,  trhile  it  impedea  the  facility 
wliicli  the  Gonslant  use  of  llie  jiropercharnclerwoLltl  sooncomjieloiir 
idlers  to  ncqtiire.  The  F  is  ns  illt^gible  lo  one  or  ilii'sc  itrones,  uc 
imngme, u  ttic  C  clef.  To  the  plajer,  in  thU  iiislnncc,  it  aSbrdsno 
belp,  bccaase  a  regular  piano  foite  part  ii  appended. 


Two  Caprieeku  far  the  PUmo  ForU^  by  Mu«o  Oemmii.    Op.  17. 
LoadoD.   Clementi  and  Co. 

Tlic  aiitlior  cif  lliese  Cnpriccios  has  earned  the  tjtle  of  a  clnsilcml 
composer  by  iludits  ;ts  severe  and  by  labuursas  long  and  as  siicceEsful 
as  any  wrilcr  for  the  piuno  foite  now  exisling.  His  eriidilion  is 
exceeded  only  hy  the  brillinncy  of  liis  imngii nation,  which  liovtcver 
is  ntways  held  subservient  lo  the  strictest  lans  of  science.  This  msy 
be  thought  higti  praise,  but  it  cannot  be  esteemed  too  high  fur  a  ninn 
irhose  first  produclioD  may  be  dated  back  more  than  half  a  cenlnry, 
and  whose  latest,  even  after  sucb  a  lapse  of  time,  conlnins  not  kss 
fire  than  his  earliest.  Neither  jean  nor  Ibe  aasteriljofliis  tatteliaTe 
chilled  Iifs  invention;  on  the  contrary,  these  worba  should  seem.to 
shew' with  whataraazinpfbrtilily  lie  has  leametf  fmni  art  to  dlversifjr 
his  materials,  and  With  ihe  theoretical  pover  so  lung  sought  in  vain 
by  the  alchemisis  in  another  branch  of  science — to  re-produce  from 
the  same  few  elements  what  is  most  bcnuliful,  what  is  most  sterling. 

Mr.  Ci.ehbmti's  compositions  then  are  to  be  regnrilcd  as  objects 
of  continued  confcmplnlion  and  study,  for  every  bar  of  them  is  the 
resnll,  not  of  fancy  alone,  but  of  coniiivancc  and  arlAd  com bina lion. 
One  curious  ik-iign  |ierv:ulcs  llie  uliole;  and  lo  maku  this  design 
intelligible,  even  to  common  observers,  shall  be  our  endeavour.  To 
Uie  younger  members  of  the  proffssion  who  are  yet  in  iheir  early 
course  of  instruction,  we  hope  to  make  our  article  particularly  valu- 
able, and  to  the  Dmaleor  not  less  so,  by  the  insight  we  (rust  it  may 
affard  into  some  of  (be  genuine  laws  by  which  the  intelleciual  and 
scien(i6c  branches  of  fompo^tloa  ore  governed.  With  (his  vlev  we 
shall  proceed  to  our  analysis. 

CApniccio  I  commences  with  an  Adagio  in  E  minor,  which  has 
the  character  of  aa  introductory  prelude.  In  !ho  fifth  bar  the  author 
announces  the  subject  of  the  succeeding  Allegro,  by  inverhlon  both  in 
tteblB  and  bast,  which,  aflei  some  modulation,  ii  repeated  in  the 


Digilized  B/ Google 


838  u.sHXirn'a  cavbucios. 

levenleenth  bu  witk  s  little  ornmneiil.  la  pige  3,  and  in  the  Sni 
bar  of  the  third  bcotc,  tho  lune  intucct  ia  reiumed  in  B  ainor.  In 
page  4,  soDie  tiirec,  after  varioai  modulationi  a  passage  ii  introduced, 
ur  which  Ihe  author  avails  bimself  TtUh  pnut  incceu  in  the  coone 

of  the  Allrgro,  page  9,  and  which  lie  worka  with  admitablc  ikill  lo 
the  end  of  the  Adagio. 

The  eecond  movemcDt  is  an  Allegro  in  E  minor;  the  subject  ii 
bold  and  energetic.  Ill  the  third  score  the  hats  takes  up  the  subject 
in  a  new  Hgure,  which  has  been  prrvioujly  announced  in  llie  second 
score.  Thli  is  immediately'  iinancrcd  l)y  Ihe  treble,  forming  an  in- 
teresliag dialogue ;  the  author  ciirriea  on  [he  same  figure  lo  Ihe  end 
of  this  page-  The  sixth  pogc  commences  nilh  the  Passctio,  ^bich  it 
in  fact  the  aubject  inverted.  In  score  6,  of  the  same  pogc,  the  lubject 
is  rcsnmed  in  its  original  furm,  and  varied  hy  the  ncn  figureHlia- 
logne,  above  alluded  to.  Upon  llic  singing  part  oTlbe  baBs^  inpnge 
&f  score  tlie  iiiithor  now  introduces  (page  7)  a  more  animated 
■notion  of  the  treble,  modulallpg  into  the  ke;  of  B  minor,  whicb 
aninialed  molion  continues  to  the  second  score  in  page  8.  .Here  the 
subji-ct  is  ngnin  resumed  in  II  minor  for  a  short  time,  from  whence 
Ihe  mofluialion  rondncls  lo  Ihe  key  of  D  major.  A  short  dialogue 
most  iiiRCniousl;'  contrived  and  irilerspmed  with  rich  niodulnlion, 
is  now  kept  II])  for  eleven  bars  in  iHrccI  ;uiil  invfileil  motinn,  which 
carries  him  iviiii  a  kw  brilliaiil  passngrs  lo  ilic  iloniinniil  of  U  minor. 
The  Passelto  is  here  again  resumed  in  D  major,  and,  ulicr  a  fen  mo- 
dulations, the  author  at  Ihe  end  of  scoreS,  page  9,  arrives  at  tbe 
passage  iireviously  alluded  lo  in  tbe  Adagio, .  In  page  10  tbe  author 
again  takes  up  the  subject  as  treated  in  tbe  new  llgDre  in  icoie  9, 
page  5,  with  augmented  vigour;  thti  ii  continued  tbiougli  tbe  whole 
of  page  II.  The  brilliant  pa»Bge,  willi  annging  bass  at  the  com- 
raenceraent  of  page  8,  is  now  resnmed  in  the  hey  of  E  minor,  and 
continued  to  the  end  of  the  movement,  which  finishes  after  Ihe  man* 
ner  of  the  ancients  ia  E  wilh  a  major  third. 

The  third  movement  is  an  expresEivc  adagio  in  C  major,  the  aDfa* 
ject  of  which  is  taken  upb;  ihc  bass,  score  3,  in  four  parts,  thecoun- 
li-rpoint  of  which  furnishes  the  aulhorwitli  a  doable  counterpoint*  in 
score  5,  where  the  subject  is  taken  in  Ihe  Irclile. 

'  Aa  we  write  Tar  all  classes  of  stndents,  our  more  learned  readers  will 
pardim  tbe  sulqoiaGd  short  deAnitjonvfilaDble  cvontenMimt  in  utuM  tgroMm. 
— When  a  part  ii  set  In  such  amaoDer  that  it  ma;  be  mverled,  tbat  Is  tosqr, 
Hint  the  apprr  part  mvj  be  mad*  the  under  one  or  tbe  nader  one  tke  Qppn 
part,  tt  h  callsd  ftoiibU  eomUTpoiitt. 


Oignizea  Dy ' 


CLEMENTl'S  CAPHJCCIOS. 


In  tlw  U»t  bar  of  More  3,  tbe  treble  threatens  to  lake  np  tfae  sub- 
ject ■gain,  but  bj  k  radden  rise  and  an  Inlennediale  agteeaUe 
paiNge  tbe  antbor  cgmaa  tg  a  dote.  Tbe  tntijecl  ia  now  mnmed  in 
doable  counterpoinl,  u  above  obsnrcd  t  and  Ibe  author  tbeu  pro-' 
cccdt  to  a  cloK,  M  bcToie^  An  expnaAn  and  melancboly  slnln,  in' 
C  n^or,  U  bn«  introdnced,  to  page  1^  (ooieS.  A  DaQipoorilM 
flnt  part  now  foUowi,  bat  wUb  aome  Tariallon,  and  introducing  ibo 
double  counlerpoint  alreadj'  raenlioned.  A  short  coda  conclodw 
tliis  fine  adagio,  in  tbe  dominanl  of  E  minor.  Tlie  linale,  an  Allegro 
vivace,  is  in  E  minor.— The  subject  is  yery  pleasing,  and  Ibe  accom- 
paniment  is  a  kind  of  tambuurino,  or  what  tbe  French  call  Faux 
Bourdon. 

In  tbe  last  bar  uf  page  17  (lie  antbor  Introducei  a  new  subjecl, 
analogous  to  Ibc  fir^t  wllb  regard  to  motioo,  iu  E  major,  wbicb  leads 
bim  in  page  10  to  llie  uriginal  subject,  in  canonc  ad  diBpasoo^  at  the 
distance  of  two  bars.  In  lliis  excellent  canon,  which  ii  formed 
entirely  upon  the  original  subject  of  E  minor,  Mr.C.  liaiibewa  hiai> 
■elf  nuutet  of  that  great  and  rare  talent  of  combining  prafiinnd 
■oience  with  refined  Umtti  AAei  tbe  cmoa,  be.  again  lalwa  np  ffae  - 
abave-raentioncd  major,  wbich  is  Tnriouiljr  worked  to  llie  end  of 
page  31,  when  a  suspension  takes  place.  At  tbe  commencmnent  of 
page  22  he  resumes  the  same  major  in  a  more  animated  stjile,  with 
a  new  singing  passage  for  tbe  lefl  hand;  in  the  repetition  of  which 
he  introduces  a  double  counterpoint  in  tbe  singing  notes  of  tbe  same 
hand.  In  (be  latter  end  oflbe  last  bar  but  one  of  llie  i^ame  page,  he 
introduces  purl  of  lie  original  subject  in  llie  mnjor  key,  which  he 
treats,  in  an  animated  manner,  as  llic  coda  of  this  moveroenl.  In 
thU  coda  tbe  masiciBn  will  observe  a  vigorous  dialogue  b^ncen  Ibe 
two  banda,  wUuh  givei  great  e&ct  to  tbe  conclusion. 

GAPiiiooio  S  commences  with  an  adagio  in  C  major  in  (he  lime  of  J 
which,  altiiougb  naiuDaIaiidcapriGiuui,Li  bigbly  fitted  for  this  apcciN 
of fompotition.  Thiamovtrooil  ma;  be  coaddered  aiaa  introduction 
— 4be  style,  a  vision  or  dieam  in  which  (be  author  waaden  most 
delightfully  through  various  keys,  abounding  with  expectations 
suddenly  checked  aud  agreeably  renewed,  and  tcjioaing  at  last  in  fbc 
dominant  of  B  minor,  prepares  for  his  second  uwivement. 

Tbe  8d  movement  is  an  Allegroconexpressionee  passione  in  B  minor, 
u4  OQtion^  begins  with  the  sharp  7  of  the  Iiey,  «i  Sebabtiaii 
BAeahubqpinone'ofbisfBgaei.  Alter cslabUshlog hit sebjed)  be 


Digitized  Dy  Google 


240  CLEMENTl's  CAPBICCIOS. 

ntflbes  an  inlerrupled  cadcnccand  then  resumes  it  in  iKe  Ihibs,  vtlb'a 
molionofqiiaversintlii;  treble.  A(  Ihelliirii  nndfiflhbaroftlielhird 
Bcorpllic  moal  inlprcsling  pnrt  of  the  siibji'ct  is  heard  in  the  nppa 
jiarlof  iho  bass,  whilst  a  pleasing  melody  is  corricd  forward  in  the  . 
treble.  In  the  larf  bar  of  Ibe  ftmrlli  score,  hciellles  inllte  dominant  of 
D  minor,  and  vrhEtet  the  bass  proceedi  Tigorousljr  in  quavers,  the 
inlereiting  part  of  the  sut^ect  above  referred  to  is  carried  on  in  the 
treble  with  singular  skill  and  ingenuily.  Part  of  the  subject  is  nest 
ttikcn  in  I)  major,  which  leads  to  a  close  in  the  same  key.  Tlie  left 
hand  now  introduces  a  passage  annlngoiis  to  the  original  subject, 
■whilst  the  right-pursues  a  similor  motion  to  that  nhicb  is  emploj-ed 
in  the  second  score,  page-  2G.— At  the  fifth  bar,  page  27,  the  Itft  hand 
continuing  its  passage,  the  author  super-adds  for  the  same  hand  the 
passage  previously  given  to  the  right;  whilst  the  right  proceeds 
playfully  by  contrary  motion ;  then  inverting  Ote  inperadded  notes 
of  the  left  hand  with  thirds  in  the  lrcUe,Bnd  aniwcring  with  the  left 
inconlmry  motion,  he  glides  for  a  moment  into  E  minor  ia  'fivo  teal 
parts,  which  brings  faim  again  ton  close  in  D.  The  above  ingenions 
passage  is  then  repeated  fbr  six'  barst  nt  (he  end  of  the  fiflh  of 
which  he  slides  again  !nlo  E  minor.  At  the  sixth  bar  of  the  third 
score  he  forms  from  the  foiirlh  bar  of  the  second  score,  a  passage  in 
six  real  parta,which  continues  fornix  bars.  Hereisatiolher  suspi^nded 
cadence  in  D,  at  the  same  time  introducing  the  two  first  roles  of"  the 
subject  which  are  twice  repeated  one  tone  higher,  and  naturally  lead 
him  to  the  hal  f' close  in  F|  minor,  lie  then  lakes  the  second  part  of  his 
original  subject  in  the  bass,  embellished  by  an  ornamcritiil  passage  in 
the  treble — then  takes  it  up  in  the  (rtblc  and  carries  the  ornamental 
passBgeto  the  bass,  at  the  fourth  bar  of  which  the  treble  goes  on  |-er 
diminulionero.  Then  follows  a  snspcnsbn  on  the  chord  oflHi  wllh 
B  diminished  seventh,  gmdually  leading  to  a  suspended  close  in 
minor,  formed  on  the  striking  part  pC  his  subject  employed  in  page 
86,  at  tfie  head  of  score  four.  Then  after  d  little  modolalion,  inc- 
ceeded  by  a  brilliant  passage,  he  threatens  another  close  in  which  he 
introduces  for  the  right  band  the  passage,  page  S7,  score  two,  bar 
four,  accompanied  by  running  notes  in  the  lell  hnnd  imitative  of 
those  previously  used  in  the  right.  A  formnl  cadence  now  lakes 
place,  succeeded  by  a  short  coda  which  brings  him  in  effect  to  the 
end  of  the  first  part,  allhoogh  not  marked  by  double  bars.  The 
OTiginol  uibieGt  is  tfaen  reiumed,  followed  by  a  change  of  rich  moda- 


CLEUENTl's  CAPRICCI05. 


241 


t&tion  of  the  fltlh  bar  of  score  five,  page  29,  when  he  rcpoKs  on  tlie 
dominant  of  D  minor.  Here  roUom  a  fine  elaborale  passage  in 
double  counterpoint,  forraed  on  the  note*  before  so  fie(|aeDlIyRllude4 
to ;  but  per  augmentationen))  where  Ibe  student  maj  remark  the  two 
links  of  the  subject,  beanlifaUy  coinbined  in  the  raostable  and  artful 
,  mannert  forrolDg  cnriooi  aad  DiincstriclBd  dissonancea.  Tlie  last 
note  of  page  SO,  and  the  first  score  of  page  30,  treats  the  second  half 
of  the  preceding  passage  invertcdlj  in  crotchets,  which  is  imitated 
bj  the  bass,  aflrr  a  short  sagpeniion,  taken  agsio  a  fourth  higher 
but  scientificnllj'  abbrcTiated  at  thelatterenil.  After  car  rjiing  on  the 
sentiment  with  varied  modulation,  the  author  now  reposes  on  the 
dominant  of  E  minor.  Here  Ilie  passage  score  Jive,  page  SB,  is 
Bgreeablj'  resumed,  and  cornea  again  dclighLfully  upon  tlie  earatter 
hart ng  been  exhibited  in  such  varied  and  novelforms.  The  materials 
of  the  first  part  aie  somewhat  alteied,aad  now  pursued  through  page 
SO,  31,  and  part  of  ^  At  bar  two,  score  Uiree  in  the  latter  page, 
the  four  first  bars  are  takes  inTertecIl;  botb  treble  and  bags,  but 
with  a  diSbrent  cadence.  A  striking  contrast  is  then  effected  bjr 
the  fUM  passage  in  doable  coanlerpirint,  the  bau  being  three  octaves ' 
tower,  and  Ihetrebleone.  Then  comes  the  coda  which  is  worked  with 
inimitable  art;  the  bass  taking  and  repealing  one  bar  of  Ibe  original 
subject,  whilst  the  treble  plajfully  expatiates  above.  At  bar  two, 
page  S3,  the  right  hand  repeats  the  passage  an  octave  higher,  whilst 
tlic  hfl  has  for  its  foundation  the  above-mentioned  bar  of  the  subject, 
combined  with  the  notes  commencing  the  38d  page.  This  move- 
ment is  brou^l  to  a  terminatioa  in  a  brilUant  and  efiectivo  mannn; 
In  B  major.  , 

Without  anatjrdng  almost  everj  bar  at  'this  admirable  movement 
it  is  impossible  to  do  adeqttata  jnstiee  to  the  oonsnmmale  skill,  jiidg> , 
ment,  and  science  with  which  it  is  composed.  It  is  a  study  of  the 
Mrett  excellence  for  those  vho  have  even  made  the  greatest  advance 
meat  towards  the'perfection  of  their  moucal  knowledge.  The  Adagio 
is  comprised  In' four  pages,  and  pages  of  greater  beauty  or  skill  it 
would  be  in  vain  to  look  for  in  the  whole  range  of  musical  composi- 
tion; though  full  of  rich  and  elegant  effects,  It  is  so  admirably  con- 
structed for  the  hand,  that  few  performers  of  tolerable  pruficienc/, 
mmld  find  any  difficidty  in  the  execalive  parts— the  only  difficulty 
is  in  the  style  which  is  of  the  highest  though  of  the  simplest  order, 
in.  NO,  X.  I  i 


S42 


CLEHENTI'S  (lAPRICClbs. 


Tlie  first  part,  vrliich  U  repcnlcil  with  Eocne  oi-namciit?,  ts  containnl 
ineigitt  bars — (he  scconi!  pari,  likewise  rtpented  willi  oriiamcnt'i,  is 
contained  in  (Mi'lve  b;irs — lluti  (uUuiis  a  minor  of  peculiar  construc- 
tion, having  ill  :i  grtat  luiMsiiru  Uir.  tlR'ct  of  orchestiiil  music,  for  jou 
sorin  luIioarlliL-  viiiloiiciUo  ]jl;i>iiig  Ihe  principal  melody,  (o  Che 
riijlil  liiiml  is  :i  iiii  loity  <i{  ii  pla^l'iil  and  ligliler  iialiiie,  while 

;i[  tlic  siiiue  liiiu'  a  riciiiT  liiinimiiy  is  c;irrii!il  on  licloiv  liic  viuluiicello 
parf.  The  inlri>duclion,nB  it  were,  oflhcsecDritl  violin,  al  bar  1,  score 
3,  taking  the  ornaini^utal  melody,  which  is  in  the  succeeding  bar 
lahcn  up  by  tlie  first  violin,  lias  a  roust  charming  effect.  Tbe  last 
note  ot  page  33  recoiumcncus  the  innjor  with  a.  running  bass,  and  is 
currii'don  with  various  iinitatiouii  lu  the  end  of  that  page,  tbe  lost 
burs  of  which  nEiluriilly  flow  lulu  a  rich  and  brilliant  coda,  nbicfi 
towards  the  latter  end  grows  into  gteatiir  aniniiktion,  and  at  length 
subsides  and  reposes  on  the  dominant  of  A  minor. 

The  last  movement  is  nn  Allegro  Vivace  in  C  major,  full  o(  iik; 
playfulness,  and  vigour — and  judiciously  Icrminiiles  a  uurk  requiring 
in  its  previous  moveraculs  so  touch  knowledge,  exprcijioii,  und  skill 
in  the  performer.  We  cannot  however  conclude  without  (utning  (he 
altuntioii  of  the  musician  (o  a  line  episude  in  A  minor,  iairuduccd  in 
page  40,  score  4,  which  is  skilfully  employed  (o  bring  on  for  the  List 
lime  tbe  original  subject.  The  coda  beginning  at  bar  3,  score  3,  in 
(lie  last  page,  is  full  of  animation  and  vigour.. 

Afler  Eo  particular  a  detail,  we  need  say  little  respecting  the  gene- 
ral merits.  There  is  liowever  one  remark  we  most  make,  nbicb 
applies  not  oul;  to  Ihese  composUtons,  but  to  many  of  the  most 
valuable  of  the  present  day. — The  notra  convey  scarcely  any  idea 
of  tlie  style,  i.  c.  of  the  rc.il  intentions  of  the  author. 

The  art  of  practical  expression  is  now  jo  highly  cultivated,  and 
great  players  mark  their  execution  by  such  infinitely  modified  ond 
by  such  astonishingly  powerful  yet  minute  gradations  of  lone  and  of 
lime,  thai  the  characters  by  which  they  aim  at  pourtraying  the  true 
notion  of  tbe  sentiment  that  inspires  and  tbe  feeling  that  ought  lo 
accompany  their  passages,  are  feeble,  inefficient,  and  almost  des- 
titute, we  may  say  while  comparing  the  symbol  and  the  reality,  of 
meaning.  Nor  is  this  defective  nomenclature  confined  to  the  want 
<if  signs  to  explain  the  elements  alone.  Every  great  maeler  bat  a 
distinct  and  characteristic  manner,  peculiar  to  himself^  whtcb  re-t 
unites  to  be  completely  apprehended  before  tbe  merib  of  bis  com- 


CLEMESTr'S  CAPlflCCIOS. 


243 


poailion  can  be  perfectly  understood."  Wc  llicreforc  submil  to  llie 
■erious  conBidemtian  of  Iho^  wlio  arc  so  lii^Iity  giOcil  in  practice, 
tbo  iadiipensaUe  nrocssil;  Ihcrc  is  tor  an  cndcavoiir  to  inlroduco  b 
new  and  more  available  method  of  convcyijig  llic  cbnngcs  of  expres- 
sion Ihey  use,  and  mote  particular!;,  as  wc  stronglj  snsp^cl  Ibe 
Ucencei  they  are  acouilomed  to  enploji  Gome  under  (he  head  of 
exceptions  rather  thait  of  rules.  Without  paying  more  deferencft 
to  the  author  of  the  Cnpriccios  than  he  may  justly  demand,  wc  vcn- 
lurr  to  prnnoiini^-  that  there  is  no  one  now  alive  so  capnble  as  Mr. 
Clehenti  of  this  task;  and  nc .ignin  as  formerly t  urge  upon  his 
coMideration,  (he  service  he  would  render  to  his  art,  could  be  be  in- 
duced to  give  the  world  a  means  of  informing  viilb  his  ovn  spirit 
the  now  (cotnparativdy)  WMem  porlraiture  of  strcnglh  and  beauly. 


'  Upon  thii  score  we  owe  Mn.  KAi,ETinE\si:H  n.n  ai  linnHlfdRnienl.  which 
we  here  lake  occaiion  to  make,  and  which  ni:  Iru-l  lif  "ill  riTt-iic  as  freely  as 
"Hofrer  iL  Iiiour  rirsl  Tolume  we  spuke  vi-ry  cll-n-r.|ir  (  (fullv  of  Ills  E-i,iii  lur 
aifferenUt  Caraclera  pour  Ic  Piano  Fur/c— l>  r  Iiiim^  miic.>  l.i.ar(i  .Mr.  K. 
himself  perform  these  works,  and  wc  camlidly  ad-iiit  rh.i(  llie  printsil  copy  ilid 
not,  nor  lioes  not,  nor  Cannot,  conTey  the  most  rfmuti^  r<  the  cnmpimT'i 
intentions  or  oT  the  expression  he  gires  (hem,  which  is  varicil,  as  l>cjLititul, 
and  33  powerful  as  con  be  concelred.  This  cirrumslanci!,  howcTpr,  marks 
not  only  41ie  aecestitp'  for  a  more  complete  meaai  of  eipliotion,  but  it  may 
tend  to  shew  tb^  playen  of  such  nneomman  attiiniDenti  may  TCiy  easily  de- 
ceire  themsetrei  as  to  the  merits  of  a  pauage  by  their  powers  of  exeei^on. — 
They  can  e»lt  what  itiould  in  ilscIC  seem  to  Iio  of  eomparitively  small  estima- 
tion to  a  high  rank  by  the  brilliancy  of  lliL-ir  men:  pracliail  |>an'er.  Here  then 
arisci  a  new  dislinclion  oul  nt  (lie  iiruiii^imi-.  (n  "liii  h  .itl  i;  jn>w  cur- 

ried, rinee  to  appreciflle  the  (m.'  m  .inin^  .icul  i.i'm'  ol  :i  iwnk,  imr  must  lie 
possessed  not  only  of  all  llie  d[.-niL'iii-.  iif  Ime  p  ■rtiininiu  ■■,  liu(  <,f  tin'  peculiar 
ase  and  adaptation  the  roiiipo^cr  hini'iclf  makr^  iif  lliow  c'li-[iu'iili.    finch  how. 

nlnote  dlrlsion  of  labour  Iicstowcil  upon  art,  wc  ot  (his  age  hare  Irrcd  to 
witness.    Aad  though  we  cannot,  nor  we  uonld  imt  if  wc  could,  stay  the 
nMrch  of  mind,  we  may  yet  perhaps  almost  lament  that  it  has  gone  so  far. 
t  Vol.  1,  page  530.  .  ■ 


A  CcSaUm  of  Bgnms  aui  Putm  ISmet,  nmg  bi^ChapdoJAi 
'  Jtyhm  for  .FbMfe  OjpAnu,  am^oted,  MUOed,  aid  ammged,  tritt 
anjiecoii^ianihiaUJbrthe  Organ  or  Piano  ti>i1e,hy  Wm.  Bortl^, 
Mat.  Bae.  Oxon.  Tlie  profile  of  the  -work  ate  applkd,(o  ttie 
fundtof  tbe  Inititotliin.   Landon.   Clem^ti  and  Co. 

We  iiave  already  rxhaiisfcd  nearly  all  we  hare  (o  sny  upon  (be 
sl^ls  of  sacicd  composilLuns  adapted  to  tbe  ordinary  service  nf  oui 
{Mrbli  cLiirches,  in  a  preceding  article  of  this  number.  We  liave 
bowever  in  the  work  before  ub  an  illuBlralion  of  tbe  principles  there 
laid  downj  not  only  ai  applied  to  psnEmody,  the  parlicidar  object  dF 
(hat  enqniij,  but  alio  as  ibey  regard  a  species  of  writing  which 
dicendi  a  degree  ia  the  scale.  For  the  conatractioa  of  tbe  Hjmn 
admila  of  afreet  expaoHOn  of  Ibougtit  and  (if>tbe  maleriala  upon 
wbich  the  composer  works.  Tbe  limitalioni  are  neither  k>  (trid  at 
,to  mcoBute  or  to  matter  oa  in  the  psalm.  More  variety  is  indeed  both 
allowed  and  expected.  The  capital  reqataite  still  however  must  be 
the  austere  chastity  of  inind  that  ia  alone  able  to  npprebenil  bow  en- 
tirely in  this  mode  of  writing,  the  subject  is  indebted  to  simplicity  for 
its  highest  aod  most  perfect  qualities.  Bnt  to  reach  this  (rue  sub- 
lime] the  manner  most  be  also  gracefol,  flowing)  and  dignified,  (cir- 
cunislances  which  are  thwonghly  contislent  with  our  oolion  of  sim- 
plicitty,}  and  to  thii  end  the  melodies  chosen  muit  be  pare  and  d» 
fated}  the  hannooiei  natural  and  ricb^  the  tnoiitions  (generally 
speaking,)  easy  though  Varions  and  effective.  These  attributes  cAn 
only  pertain  to  a  vigorous  nndcrstanding,  whoso  wholesome  taste  is 
not  alone  unviliated  by  acquired  appetites,  but  supported  by  the  con- 
tinual contemplation  of  the  solid  grandeur,  the  sober  magnificence, 
and  the  just  expression  of  the  great  masters  of  ecclesiastical  writing. 
Of  the  possession  of  so  sound  a  mind,  the  compositions  of  Ma.  Hobi- 
LEY,  in  whatever  manner  they  are  written,  have  always  given  direct 
proof,  and  the  present  publication  will,  we  tbtnlc,  establish  not  less 
satisfactorily  the  effects  of  such  a  direction  of  itndjr  aatbal  we  have 
jait  described. 

We  consider,  we  say,  tbe  hymn  as  one  remove  nbove  the  plainnt 
kind  of  composUioD,  tbe  psalm-tune  s  and  as  rules  are  only  anlhoritiei 
dnrnn  from  the  nod^  of  those  viiten  wboj  by  universal  comsn^ 


luMUR'*  ARUiit  oniia.  M5 

BIS  kdmilUtf  to  bm*s  lewbed  the  bt^mt  dogice*  of  czcenence,  it 

may  perbaps  aerve  to  iUiutTale  the  design  ofioch  compositioDS,  if  m 
endravoar  to  ascerlain  from  tho«e  before  us,  which  cann'it  be  denied 
tbe  rank  of  clansical  prodoctions,  the  nature  and  qualities  tbal  ougbt  ' 
to  distinguish  tbeapecie*.  Purity  and  unity  of  design  are  the  first  re- 
quisites— by  which  we  mean  that  nothing  should  be  given  loexlranc- 
ODS  ornament,  but  the  whole  be  made  to  depend  upon  tlie  genuine 
attributes  of 'line  expreation— apon  energetic,  flawing  anil  simple  me- 
lody—Ibe  intenralt  generally  being  close  nod  MnQoUi,  Ihe  Iraniitiana 
few  and  nat nral,  the  time  never  greatly  ncceleivleJ  orindeed  widely  de- 
puting from  that  "even slepnnd  mnainggait"  which  UierabllmeitoF 
onr  poets  altrlbutn  to  the  penoniftcalion  of  our  mbl  jraeatMnthnenla 
and  aff^ions.  Whenetrai  the  panloD  rites  to  idigioai  ferronr  and 
Itianbtgiving,  or  uoks  to  the  ilRcerity  of  hamble  aorrow  and  impre* 
cation,' the  same  dignity  should  be  preserved.  Such  emotiuns  ailroit 
of  lio  violence,  but  even  the  strongest  are  tempered  by  n.  u-rtnin  con- 
tislent  respect  to  object,  place,  and  person.  Hence  the  whole  nr- 
rangement  is  clear,  full,  and  fervent,  but  there  is  nut  a  note  without 
its  meaning.  Changes  of  time  and  measure  are  of  course  admissible 
with  changes  of  tenlinKnt— tfiese  serve  as  light  and  shadow;  but 
whalever  the  transition,  tbe  repoae  (to  spnk  the  language  of  the  sister 
ari,>oaght  nerer  to  be  in  tiieleMtdistariMd.  WheoeTor  paation  te- 
qniras  to  be  he^lened  bsjond  the  natnial  fiiroe  of  energetic  melod/ 
and  diction,  the  elevation  is'efibcted  by  harmony  or  by  accompani- 
ment; but  such  accessions  mast  come  in  grave  and  learned  dress. 
We  observe  tliat  the  melody  is  principally  supported  by  sustnini^tl 
tones,  and  the  intervals  strengthened  and  connected  by  lelardations, 
having  Ihe  eflect  of  long  appogialnraa,  which  arc  seldom  introdaced 
without  heightening  the  expression.  Any  passage  approaching  to  a 
division  is  exo.'cdingly  rare,  and  admissible  only  to  illustrate  some 
peculiar  e&cct.*  As  the  hymn  is  commonly  intended  for  unisonous 
perforaunce,  the  compnn  often  notes  is  rarely  exceeded,  the  modn- 
klion  is  natural,  and  hj  no  meMH  frequeat  oc  crowded,  and  the  Itar- 
mooy  lioli  and  olear.  In  some  instances  a  florid  ban  is  inlrodoced, 

•  In  Da,  Abnold's  Fynin,  "OGodhow  woridt  on  vmrldi  proclaim,"  there 
Is  a  relkhons  enunple  apoa  the  words,  "  In  ceankii  order  moBC,"  (page  84,) 
but  we  think  a  lltgbt  rea^iltion  of  the  same  pasraga  upoa  the  next  page  i> 
hdly,  though  in  perfect  sccordsoce  with  the  sit  which  conposera  arsit  tbem- 
adrceof,  in  reealUng  i^retablelaNges,  and  in  workii^Dpon  tbem. 


ta  bestow  energy  and  motten  with  Bdminbla  nlilily .*  -  Snch'appear 

to  our  minds  to  be  tbc  general  laws  that  govern  lliis  bcaiiliful  kind  of 
writing;  till:  study  nf  wliicli,  wc  sliuulil  imagine,  would  form  S 
fincgrouiiJ.wnrk  fur  tciil  grandeur  in  voral  csprrt-iiiii,  bj  iiiculciiting 
at  every  sfcp  rnliuiiCf  on  l\]C  dciriciils  of  llie  grtal  plj  lc  nloiie. 

Tlie  Culk'clion  consisls  of  Iwenly-rour  Hjms,  and  tlic  Appundis 
of  Ivvci.ty-four  P^ahn  Tiincs.    Of       Hjiiiris  livu  art  by  Dr.  Ar- 

(io[.D,  Oiie  from  Pi.evei  llicre  is  one  Iromcacli  of  llie  following 

niitliors:  Mcssrs.WA mis i.E  v,  fli T.r.Y,  Ha bthr r.EM.i N,  Bu RRo WBt, 
WKnHE,.liin.  W.  LiNr,EY,nnd  Miss  Savage;  six  are  sirleclcd  and 
arranged  by  llic  Editor  from  anonyinnns  sources,  and  eight  arc  from 
Iiiiown  hand.  ThcPijalnu  arc  principal! j  selected  and  arranged 
for  two  voices. 

In  tills  selection  the  old  favourites,  llie  E^ter  and  ETeniog  Hymn* 
will  of  course  be  found,  and  in  hii  adaplationa  Mr.  Hosii>Br  B?aik 
himself  of  (lie  known  and  adinifcd  air,  Adalefikles,  with  one  or 
two  others  of  almost  equal  celebritjr.  He  has  not  been  wanting  in 
justice  to  his  cotemporaries,  for  those  be  has  inserted  do  great  honour 
to  the  names  we  have  alreadj  menlioncdi.  Wescarcd;  know  which 
to  prefer,  at  each  has  its  separate  and  appropriate  beaatiei.  Cotke 
/ufA  (fiofne  and  Ma.  Lih  lev's  appear  Id  us  lobe  in  the  most  mo* 
dern  manner,  while  Ma.  Walhislbt,  Mb,  WBBBB,'«od  Mb.  Bdb- 
KowBS  have  almoat  equal  oltum*.  Indeed  as  a  whole  we  bardlj 
ever  met  with  a  work  lo  g^enerally  near  the  standard  of  excellence. 
We  can  make  only  one  ohjection,  which  is  to  the  style  of  the  Balle' 
lujtili  in  Barthelemon's  "  Elemalsaurce  of  eixryjojf"  Ilisnovel, 
and  as  it  appears  to  us  weak  in  cllrct,  Eiilirig  chieHy  in  account  of 
its  dance-like  (Ihoiigh  not  iingrFiccful)  motion. 

Mn.  Honsi.Ev's  own  compositions  and  the  parts  apppniled  are 
ccrlninly  very  bciinlifiil,  because  very  simple,  me!ndi(jii%  and  en- 
riched by  clear  harmonies  in  the  same  sound  taste.  Yet  hi^  chief 
merit  above  his  companions,  in  this  publication,  resides  in  the  necec> 
sary  station  nf  command  and  res|ionsibllify  he  lakes,  for  \re  most 
repeat  the  style  is  remarkably  sustained  and  equal  throughout.  Mx.- 
H.  and  bis  friends  will  thcTefore  enjoy  the  satisfaction  of  having 
justly  contributed  to  a  production  in  which  they  maintun  the  chB- 
lacIer  of  brothers,  alike  devoted  to  the  common  objects 'of  thdr  la- 

*  SeeMa-IIoHiLEY'i  Hyinn  "litearfyj/ean,"  ^ageSO,  aadsjpunp.  Iff. 


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BORBLXir'S  Uru)H  HYMNS. 


247 


bmin;  and  nben  science  thug  minUten  ta  <i\Muty,.lt  b  s  temper 
and  a  pru^weU  fitted  lo  Ihegood  work.  We  Irnst  the  noble  insti- 
tution, (or  whose  benefit  and  advanoeroeot  the  book'  is  pubUnhed, 
will  derive  tome  pecuniar;  advanlnge  from  ao  excellent  a  perform* 
ance,  and,  in  our  cnrncst  wish  fo  forward  (hii  object,  we  cannot  ur^ 
B  better  or  a  sounder  nrgumenl  than  fo  recommend  IhoHjirans  a>  an 
admirable  solace  lo  those  pious  minds  who  employ  music  as  the 
vehicle  or  llic  ussislaiit  of  ilevaliaii,  and  as  the  amusement  of  their 
serious  momenta,     Hit.-  lime  lli^il  llic  introduction  of  srcond 

parts  adapts  llitm  U<  lliLMlomi^blic  iiiacliccaf  music.  Nothing  can 
be  more  suited  lo  extend  the  range  of  devout  satisfactions  then  Ha. 
HongLEs's  4»TLvii  HvHMs,  while  the  puronas^  wiu  nave  the  ad> 
dition^  latiafiction  of  knowing  that  he  is  eontributing  an  alms  to 
one  of  the  moat  excellent  of  our.  multiplied  charttiei. 


Jloa  twtet  ii  the  Hour;  a  ballad^  composed  by  George  Gosi.  ton- 
don.    Phillips  and  Majrhev. 

O}  came  o'er  ihe  barren  Moors  f>y  Geor^  Oou.  London. 
Phillips  and  Mayhew. 

A  Ifosrgajf  once  of  varied  Flowenj  a  baJlad,  bjf  Leait  Leoni  Lee. 
London.   Phillips  and  Mnyhew. 

Sear  Harp  of  saecl  Etin;  by  Barnard  Lee.  London.  'Phillips 
and  May  hew. 

Mio  Alma,  Farewell;  by  John  Enidin,  Etq.  London.  Phillips 
and  Mayhew. 

Jtfo  dearer  Moiacnit  ere  can  fiow;  by  Jokn  Bametl.  London. 
For  the  Author. 

Take,oh}  take  Ihote  Upt  am^i  mongtbg  Pb  Qim^'fi-  Lon- 
don. Mitchell. 

We  here  present  our  mdcra  with  the  titles  of  an  tmconnected 
series  or  Ballads  and  Songs,  rising  froni  a  degree  below  roedioorilf  to 
an  elevation  consideiabi;  above  (bat  te^oa  nf  indifierence.  AH  ages, 
.  lexet,  and  conditions  now  ting;  it  is  therefore  perhaps  necessary  to 


□  Ignzed  by  Coogle 


KBIT  B&LLAM. 


bibtbe  levet  <^  every  capBcIt; — ■  reBKm  all  Mfficient  M)ty  battadi 
■  oChrgh  mmI  low  degice  Bbonld  be  vrillen,  pnblubed,  nnd  reciraed. 

Mr.  Goii'i  vill  protnblr  be  erieemed  Bimple  and  pretlf  by  toj 
joang  ladiei.  Mr.  L.  L.  Lbb'sm  upon  theoldbnt  not  jet  ironi-out 
image,  (he  Rose  and  the  Thorn — Fair  Lndj  and  false  Snain;  il  ii 
honcTer  the  lover  that  complains  of  his  own  perlid]'  in  this  instance. 
I'hcie  U  meiudj  arid  a  rnnning  accompaniment  to  rccomraend  it. 
Mr.  B.  Lbe'r  ballad  bcj^ins  will)  the  notes  of  The  hit  Rase  of 
Summer;  bat  it  ta,  ve  think,  an  agreeable  song,  anil  may  be  rccom* 
mmded  both  bj  its  being  new,  and  on  the  score  or  its  proper  merits. 

Ur.  Emdih'i  MioAima  u  of  a  still  higher  order,  and  it  hna  ex- 
pmstre  puaagea  BCseording  irith  Ibe  tentimenl)  paTticularij  tbe  last 
tepetitlon  of  **  Sfio  Jbrn,  fareadt."  > 

The  two  last  ofihe  list  are  howerer  raised  hy  a  vast  reiDove  above 
the  rest.  Mr.  Barnett  seta  to  worlc  [ike  a  mind  of  power.  Hii 
song  is  Dol  only  iroaginalivr,  but  conducled  upon  the  pri.iciptes  of 
good  (ostc.  The  first  part  is  sustained,  flowing  and  expressive. 
We  do  not  however  quite  like  the  descent  and  rising  of  a  seventh 
upon  the  word  bhssomt;  but  the  Inst  strain  of  this  movement  is 
excellent  and  beautiful.  Tlie  changes  of  key  and  the  modulnlion, 
wllb  tbe  entire  ilrocture  both  of  the  nelodj  and  acconipaaiment 
tbat  iDcceed,  also  Indicate  a  strengtb  of  tboaghf  that  ii  not  to  be 
satisfied  with  onlinat;  tralni.  Ai  a  itbole  tbe  camposUiaD  It  Yetj 
creditable  to  Ma.  Baxhbtt. 

Mr.  GiAHoaBTTiNi's  Kng  nakei  ns  r^ik  that  be  ba*  Mledcd 
words  wblcb  we  are  apprehensivo  vlll  operate  against  the  general 
Teceptioa  of  Ijiii  spirited  and  degaot  caazoneita.  The  passaget  are 
fitncirnl,  graceful,  and  beaatiful.  The  accompaniment  full  and  at- 
tractive, fiut  the  words  (liiough  Shakspeare's)  contain  indelica< 
cies  of  allusion,  which  in  this  relined  age  will  hardly  be  tolerated. 
'  We  lament  thb  exceedinglj,  for  Mb.  Ciancubitini  obviously,  by 
the  (carces  to  which  he  applies  (Milton  and  Shakspeare)  for  tbe 
graandwork  of  bis  productions,  entertains  an  elevated  and  a  right 
notion  of  the  aims  of  a  composer  in  his  aspirations  afler  fame.  Wa 
conceive  also  from  his  musical  ttyle,  that  he  liaa  studied  Uie  degan- 
olctaf  modcTD  art  with  CDDSiderabk  adnntage. 


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2« 


Ever  true;  a  duet,  composed  by  John  Eluding  Esq.  LonJon> 

Fbilli|i(  and  Hajhew. 
In  Celia'ifaee;  aduet,eompostdbj/S.  fPeibeJan,  London.  Chpp* 

pell  otid  Co. 

Rcnily  good  duett  nre  Uic  tilings  in  nliicU  (lie  English  composen 
excel  the  least;  indeed  so  deficient  are  we  in  tlie  species  of  Ihb 
genus,  llial  we  are  lolally  williout  many  liial  allurd  tlie  higliest  gra- 
ttficnlion  Ifi  out  mmlpls  In  iiiiiiical  wriliiig:,  tlie  Ilalinns  and  the 
GiTinniis."  All  wc  possess  arc  iiriiicipnlly  iii  tno  styles,  tlic  dramatic 
and  (hat  of  (be  old  canzoiiclt  writer,  TiiAVEns.  We  have  bore  one 
in  each.  Ever  true  is  in  tlic  genuine  English  stage  or  English 
garden  manner,  which  will-  not  perliaps  recommend  it,  except  to 
thoie  who  nre  content  with  liglit  and  pleasing  and  somewhat  gaudy 
melodjr — ror  tliere  is  someliiing  Tor  shew.  We  Ihlok  liowevoi  it  u 
quite  as  gooil  a!>  most  of  the  same  kind  th^  have  obtained  an  ex- 
tensive sale.    Eter  true  is  for  aopiano  and  tenor. 

Mn.  Webbe'h  is  in  the  manner  of  tlie  older  and  vastly  better 
school.  The  poetical  subject  is  very  quaint — a  dispute  between 
CcUn's  lips  and  eyes  for  the  supremaey  in  licauty,  and  the  mnsical 
division  it  into  three  movements.  The  style  is  well  suited  to  the  age 
of  the  Tenei,  and  it  affords  an  agreeable  and  a  classical  addition  to 
our  very  icantj  stock.   It  is  for  tenor  and  ban. 

*  Attempts  have  been  freqaenUy  made  to  adapt  Italian  music  to  Ejigliih 
*ard(,  eltber  by  entirety  new  poetry  or  by  (raoslalion — ^never  howeTer  very 
soceemTutly.  The  best  iray  is  perhaps  to  print  both  in  English  anil  Italian  lu 
inch  case,*,  m  Ius  been  done  In  PccrtrA's  Serbami  U  priino  tfffetlO'^Chaiiff 
Mfrom  nully  baei  Bella. t  tt  matliao  atbort — Saeelii  lhe  menmg  g^s 
Ln^heoalB  ipmaaa—Chmring  hope;  uA  (be  leiy  beuilUnl  duet  of  Fto- 
uvim,  Pcrdbna  «f  dlUb— l^iMnfan  qjrbPdL 


VOL.  III.  ITO.  X. 


ISO 


Sixteen  t^eet  Mmtma^t  Score,  from  the  tlauiail  GMpotBuaaof 
the  lotcient  and  modem  Sckooh  /  for  the  Vse  of  Students  in  muiietd 

Composition;  arranged  mith  brief  Remarks,  Explanalioaa,  and  an 
Appendix,  hyJ,  JUarsh,  Esq,    Loiiilun,    Cliuppell  and  Cu. 

Our  duly  with  regard  to  Ibis  judicious  comp'ilalioD  a  almost  coq' 
filled  to  DlloUing  a  brief  spaM  to  the  enumeraliun  of  its  conientj,  for 
\\ie  Aiiibiir  has  takca  the  task  out  of  the  Reviewer's  hands  by  a  pre- 
face inwhicb  he  gives  a  sufficient  snalj^sis  of  the  selections  he  has 
made.  A  name  so  respectable  !n  science  as  bis  own  will  be  'a  wa»- 
rant  for  the  ulililj  and  the  accuracy  of  his  work,  of  wbich  be  lliai 
describes  the  objecli 

"  It  is,  I  believe,  generally  alloved  (bat  nothing  «in  be  more 
improving  to  ti  youn^  mnsicM  composer,  than  to  peruse  the  works 
of  eminent  mesters,  in  score.  In  vflcal  music  (here  is  indeed  no 
went  of  sncb  works,  the  orntorius  of  Handel,  wilh  multitmlitious 
collections  of  aiilbcms,  mndrigiils,  t:'<'cs,  &c.  being nlways  published 


Ihal  form  ;  and  of  lUv  inoiipnis  lUini;  iil  .ill,  f\c''|it  some  of  ibo  m  m- 
pbonies  ofllAYDK,  by  Ci  *sciierri  s  i  ami  uiIh-i>,  and  soinr  of  his 
quarletlos,  published  at  Paris,  in  small  puckcl  vuhimes.  The  ex- 
pence  however  of  Ihesc  symphimies  in  scnn;  is  so  ;rreat,  that,  except 
some  copies  used  by  (lie  conductors  of  ibc  Pliilhiirinonic  and  ithrt 
concerts  of  mmlern  music,  they  are,  I  licticte,  mostly  conRned  (0  (he 
cabinels  of  the  curious ;  and  after  nll,'lhcy  furnish  the  student  wilb 
only  one  particular  species  of  composilion. 

"  It  has  since  occurred  to  me,  therefore,  that  a  more  osrfid  work 
of  this  kind  might  be  furnished,  and  nl  n  miirh  smaller  cx|icnce,  liy 
selecting  particular  movements  from  difiercnt  comjioitrs,  of  both  the 
antient  and  modern  schools,  a  specimen  of  which  is  accotdinf^ly 
exhibited  in  the  following  pages;  each  of  which  muvemenla  I  shall 
.  Bccompanj  with  such remarksaDdoliservaiioiuBiniaysecninalural.'' 

This  introduction  is  followed  by  a  sketch  of  the  main  fralUTra  of 
each  of  the  sub  ice  Is  selected,  which  are  from  Corki.li,  Rehikiani, 
Abel,  Back,  Van  MALDEne,  Haydn,  Sacchivi,  and  Pletel: 
To  these  are  appended  some  ofihe  Editor's  own  compositions. 

Mb.  Mabsu's  analysis  comprriiends  llie  peculinrities  of  each 
piecCf  and  npbuas  (he  reason  wby  it  bat  faeea  cboaen.   Theae  re- 


except  the  scores  of  llANnnL's  ovcti 
lios),  the  siinalasofCoHrLLi,  anil 
Ckmini.ni's  roiin'Tlii^  I         niif  .>! 


Digilized  by  Google 


HARia'i  IKLECr  MOVIMENTS. 


BMTkiivill  make  (ha  work  TaluiAle,  snd  m  ne  hail  nilh  (rne  mU- 
fiietion  ever/  eiulravnur'lo  untie  Lilemlnre  with  Muiic,  In  tiie 
cnnTictiDit  llial  nnttitng  will  sp  gremly  tend  to  the  Bdrnncement  of 
Ihe  fcience  nod  the  oliaracter  of  its  profeKora,  ve  have  the  mem 
pleatare  in  KoommendiRg  the  book  to  the  notice  of  gludent*. 


3%re  Soiiall>uu,eompoitd  for  tie  Piem  Forte,  f^Jotepk  Dc  Piima. 

Lomloii.  Clemenli  and  Co.  • 
MonlpeUer,  a  Rondo  for  the  Piano  Forle,by  tfilSm  fut.  LondoB. 

Balls. 

JUrTch  Megan,  a  faiourite  Weldt  Air,  ailh  VaeiaUont  far  tte  Pum 
Forie,  bij  Philip  KnajAo*.  London.  Goulding&Co.  andCbap* 
pell  &  Co. 

An  MfatoiirittAir,wilk  Farklhns,  fortte  Piano  FoTle,i^  W.  H. 

Culler,  Mut.  B»e.  Oxan.    London.    For  tlie  Aullior. 
Tkema,  am  ymimiiani,  byC.  S.  CiAham.  Ijondon.  _ForlheAutlior, 

hy  tlie  Ro^l  Harmoaic  institution. 
FaMcAi,  JbrtAe  Piano  Forte,  on  Di  Ta^  PatpUif  by  Pia  CUtncAeUiid. 

London.'  Miicliclt. 

Ma.  De  1*1  n  na's  Sunilinns  urc  uf  lUe  timplnl  and  eniiect  kind, 
fur  very  (lingers.  nvt:  (M  of  roclodj  nnd  tnaliaii. 

There  is  nulliini;  ii<>»  In  be  s»ui  in  iLivuruf  sucli  piili[ic:atii>iis, except 
thai  1I117  iiHbril  vitiulj,  Nuvdij  u{  cmisinitlion  is  oul  of  iliu  quca- 
liori.    Moiilpiliir  is  also  a  li^lil  prflly  lillle  pitce. 

Miii  Knifton'g  Mtrch  Megan  is  ijriiiciijully  maJo  upoii  iLemosl 
tiacknicd  forroa.  Tlie  nionienl  you  have  I'luked  at  the  fint  ban  oS 
the  miation  you  linve  Ken  to  the  cnil  of  ii,  Die  rest  being  merdy  ibe 
repeliliDn  of  the  same  idea,  so  many  notes  higher  or  lower  in  this  or 
(hat  key.  But  Ihe  seventh,  tliongli  obnoxious  in  &  good  measure  U> 
the  nine  remnrk,  lias  yet  sinking  passages  that  point  out  Ma.  Knap- 
ton's  real  line  of  Inli-nt — vocal  eomposilion.  Tlie  cliarm  is  broken 
in  the  next  varijtion,  and  we  lia?e  tripleti  agaio^  and  other  "set 
tenii%''to4b»«nd. 


S5S 


NBW  UHS08I. 


-  Ma.  Cdtlbr  has  made  Lis miaTuHis much  raonagrceableb/giih 

ing  them  tiational  characters.    Tlie  piece  it  vety  simply  constiucled. 

Mr.  Cobiiam'!)  is  in  u  belie/  because  e  purer  and  leu  comniDD 
style  llian  tlic  oilier,  yet  it  mnkes  no  pretension.  It  depends  nbolly 
upon  tlie  power  of  expression,  and  for  this  reason  we  should  esteem 
it  likely  (o  furiiisli  a  good  c.icrcisc. 

The  Fanlasia,hy  Mn.CiANCHETTiNi, is  upon  Rossini's  air  "  Ta 
eke  aceendi,"  m  often  made  the  tlicme  of  piano  iorlc  le^ns.  The 
introduction  is  apiinklcd  with  brief  notices  of  the  airi  which  appear 
and  dimppear  again  as  ■nddenlj')  io  make  na;  for  brillianl  illustn- 
tralioni,  to  which  indeed  the  nbola  sonata  is  devoted.  Mt.Ciah- 
ciiETTiKi's  imagination  is  very  Tivid  and  full)  and  we  knon  of  nothing 
more  iliirid  or  requiring  ligliler  and  more  delicate  touching  than 
this  Fantasin.  By  one  possessed  of  this  particular  requisite,  we 
Ibink  much  effect  may  be  citnicto!  from  the  composition ;  jet, 
though  ns  completely  covered  ivtlh  notes  as  the  paper  can  irell  be, 
such  a  performer  ivill  fmd  Itllle  that  is  really  dilEcult.  The  player 
may  skim  along  like  the  Volscian  ComiYfa,  gaining  equal  fionoui  fol 
bbrself  and  br  the  compoier. 


I.a  Ga^ia  Ladia,  Meladramma  in  due  alii;  Die  Diebache  elsfrr, 
von  3 .  Hossini.    Prcis  Bonn  und  Coin  bci  N.  Sirorock. 

Two  circumstances  have  excited  our  allcniion  to  this  production  ; 
First,  its  having  been  seleclid  fur  tiio  rc-openiiig  uf  the  King's 
Theatre,  under  a  new  lessee  and  a  ripw  ilirectioii  ;  and  secondly,  the 
growing  fame  of  its  author,  combined  with  the  intrinsic  merits  of  a 
work,  which  has  beeneiteenied  thechcf  d'aamof  Rossihi. 

The  Italian  opera  is  now  become  as  mudi  an  aitjde  of  necessit; 
to  the  world  of  fashion  and  of  taste  in  thisoounlry,  as  a  house  or  a 
carriage.  Yet  at  the  premature  close  of  the  last  season,  the  conflict- 
ing claims  which  the  erjuily  of  law  and  the  law  of  equity  had  estab- 
lished with  a  view  to  IcrminDte  the  cmbariassments  of  the  property, 
seemed  welt  nigh  to  have  thrown  such  permanent  impediments  in  the 
way  ofa  satis&ctoi;  adjustment  as  would  piecludii  the  posdbilit/ of 


again  opening  the  theatre,  until  Ibe  GoTdinn  knot  titanid  bave  bedn 

cut  by  some  shariKC  iaslruinent  than  justice  had  yet  einployc<l.  A 
tcinpomrj'  cxpedicdt  for  public  grali  Ileal  ion  hns  huwuvcr  been  hit 
upon,  and  Ma.  EnF.ns,  an  opulent  bookseller  in  Bond-streel,  who 
li:ts  been  largolj'  In  the  inlcreale  oflhc  hulilcrs  of  ptoperly- 

bu\{.'!i  I'ur  8nme  y;';>rs,  lins  bccu[ue  lUe  leHseo  foi  one  aeu^uii.  Tlicre 
iVLTU  two  iUin-ff  wauling  (o  lliii  anluoua  uiiJcrtakiiig — responsibiiily 
anil  (alent.  M».  llusns  (iicrcfurc  wUely  altached  Ma.  Ayrton  as 
his  coadjutor,  nbo  might  take  npon  him  the  entire  nuncal  nnd 
dramatic  direction.  Thugmtleraoii'*  i^ilitj  itanda  upon  (be  double 
proof  of  having  conducted  one  of  the  moat  lucceigrul  *eMORt  in  Ihe 
annaUof  the  Opera,  and  ofa  legal  decision  in  his  faTour  against  the 
then  Manager  for  (he  lerms  of  liis  engagement,  given  under  liieEano 
tion  of  the  highest  ti-slimony  lliat  could  be  adduced.  Professora 
and  other  characlers,  nliosc  taste,  knowledge  of  Ihc  subject,  nnd 
general  respeclabilily  were  all  of  the  dul  kind,  sponlnneuualy  and 
anxionsly  cnroe  forward  to  support  Mr.  Avhton'b  claim  by  llic 
moit  gratifying  evidence  to  the  intellectual  pOHcn  and  altainmeQls, 
(be  scientific  skill  and  the  urbanity  of  maagen,  that  peonliariy  fit 
him  for  this  difficult  office. — These  two  gentlemen  bavc  tococeded 
in  again  opening  the  house,  against  obstacles  that  vould  have 
appalled  the  courage  and  daunted  the  persererance  of  most  men. 
They  have  moreover  obtained  tbc  patronage  of  tlie  irorld  of  fashion ; 
they  have  re-assembled  a  disorganised  body  of  near  400  discontented 
members  and  tbc  list  of  performers  equals  probably  If  it  does  not 
exceed,  in  point  of  character,  numbers  and  cx|iencc,  nil  former 
arrangemrnla. 

An  estimate  may  be  formed  of  the  energy  and  spirit  with 
vhicb  the  new  management  ia  Gondnctet],  from  the  list  which  we 
■Dbjoin.  J£)ccelLeDce,  ooveltf,  and  Taiietjr  are  Mught,  and  public 
opioioD  ia  conciliated  by  the  boldness  and  liberality  with  which  the 
new  proprietor  enters  upon  the  undertaking.  Xfiet  LaGaxiaLadm, 
SiGHORA  HAaiNONi,  tt  Contralto  new  to  the  stage,  appears  in 
Tbaerali.  It  is  also  in  contemplation,  we  underslniiEl,  to  engage 
Madame  Albedt.  Rossini's  opera  of  Jl  Turco  in  Italia, 
Do»  Giovanni,  and  Mozart's  L' enlevement  du  Serail,  will  pro- 
bably, be  brought  forward.  To  tlii-se  performers  arc  to  be  addeil 
Heidahbs  CAHPoaESE,  VESTnia,  Sionqba  Mori,  Madame 
Roxzt  DK  Bsam  (prima  donna  at  tbe  Theatre  Royal,  Pmu,)  Sio- 


95{  U  «AUU  LUU. 

HOBS  CiTKioNi  (primo  tenore  Rt  tbo  Theatre  of  San  Garloi,  Naptn, 

nml  a(  llie  Ilallxn  Theatre,  Barccloiin,)  Tonal,  BenitEz,  Anbro* 
CETTi,  AKGBiiANi,  P1.ACC1,  I'aoi.o  de  Vi  lue  (|.rimo  basw  ckii- 
tnnlcnt  Wk  Opcta  Uumi,  Nnfilc's,)  SiosoR  DE  BeoNi  (primo  buffo 
comico  c  cnnlnntc,  at  Ilnlian  TliiMiIre  Royal,  Paris,)  Rokbdo, 
IJi  Giovanni,  HonASiii.    Tlie  chonis  consists  of  liiirlj-sii 

We  mny  non  Imn  <o  Kos»ini  ami  Iiii  opera,  and  pTcfix  a  de- 
•criplion  of  thii  popular  composer  by  way  of  ■  portrait-fiwitiBpiKe 
lo  ooi  rematk*  upon  bit  vork>  Hit  penon  is  itouf,  hh  head  and 
limb*  are  large;  he  it  inclined  lo  corputency,  and  rather  above  the 
middle ilaluFC  His  fenliires  arc  not  pnrticulnrly  sinking;  litseyet 
Hre  hazel,  and  dull  rather  than  brilliant;  his  forchcnit  broad  and 
elevated,  but  the  contour  of  this  important  spat  of  talent  is  rather 
sloping  backwnrd  limn  nrclinl.  He  is  nlHiblp,  rasy,  fond  of  dis- 
cursivf- caiivtrsallon,  and  values  hi.ii.-eir  rallicr  upon  hib  olhcr  qua- 
liliL'S  lli.nii  upon  Ills  iiiiisical  tamo  ur  nllniiinu'iits.  He  sL-lcloiii  ivrilL's 
till  urged  hy  as  much  necessity  as  the  prospect  not  Ihc  pressure  of 
actual  want  of  moae;  occasions,  and  then  with  prodigious  ftdlitj. 
When  hii  mind  ia  warmed  with  exercise  his  ideas  flow  so  fatl  th^ 
lie  frequenti J' turns  from  one  subject  to  another,  adapting  the  au^ 
cession  to  various  composilions.  It  seems  as  if  while  employed 
upon  one,  piissajjcs  adapted  lo  anollicr  pjrt  or  hi^  work  occur  (o 
him,  and  he  inslanlly  follows  Ihe  direction  o(  his  Ihoiighls.  Solitude 
is  nut  impiirlani  lo  him,  for  he  writes  almudit  as  freely  nlicn  sur- 
rounilcd  by  company  as  when  niotie. 

Such  is  ihc  portraiture  of  Ihc  persDii,  mind,  an.l  liEibils  of  the  com- 
poser  who  Bgitales  and  employs,  if  he  docs  not  absolutely  enchain  and 
■enchant  the  opiniuni  of  this  inusicaL  age.  ia  Goiia  Ladra  innni- 
fcsli  but  fciv  marksof  lhc«xpedilian  he  commonly  employs.  It  ia 
cbicRyniaile  up  ofconcerlnd  pieces,  and  is  remaikable  for  theatinoat 
entire  absence  of  airs.  It  is  necessarily  therefore  dislinguislied' for 
its  scientific  harmonies,  its  canons,  imitations,  and  masterly  con- 
struction. It  is  inileed  ihe  opinion  of  every  able  judge,  that  Ihis 
opera  approaches  Mokaut  more  nearly  than  any  modern  eomposi- 
(ion.  "I'hc  miinner  ofUofsisi  hn.s  lieL'Ti  E.iii,l  h,  be  hss  perceplibic 
ill  lliisllinn  i.i  hi.  other  |)roiliie(ii.iis.  rn„u  [ li ,s  (,|iininii  ,ve  are  how- 
ever iiiclineil  ((I  dissent.  Those  striking  passages  of  brilliant  melody 
which  lix  upon  the  iiuicy  and  haunt  the  memory,  in  which  Rosaim 


LA  GAZZA  LADRA. 


255 


abouoJs,  are  not  indeed  by  any  means-  v>  freqoent,  bul  he  is  la  b« 
cleotly  traced  Ihrough  his  entire  work  the  ute  of  Aoriil  psssagei 
otarpe^h  in  the  voice  parts,  as  detcriptive  of  mental  Bgitalian,  and 
by  cssanl  gleams  of  beaulifnl  expreuion,  elicited  fioni  (licse  expe- 
dieiils  hillierto  fi>un<i  innpplicable  to  sucli  piirposei.  Tlic  music  is 
excccdin);!^  iliflicult  uf  cxeculiun.  At  Venice,  llie  counlry  of  its 
bin))  anil  language,  it  had  sixty  relieatsuls — in  England  it  cost  o 
month  tu  bring  it  forward,  bul  on  Ihe  second  performance  nu  le- 
duced  full  ihree-quarlers  of  an  hour  of  its  ariginsl  duratioi). 

The  cliBracter  ot  this  piece  is  unnloguus  to  liioie  little  drama* 
trbich  describe  incidents,  sllualions,  and  senlimcnla  ia  common  tire, 
but  wbiQli  are  in  Ibunuelyes  such  as  to  iiilcieit  ieeling  in  the  higlu'st 
degree,  because  Ihcj'  are  natural,  and  because  all  the  circumstaiice* 
ate  of  common  occurrence,  except  tbe  one  eztraordlDary  event  upon 
which  Ihe  conJucI  of  the  slory  (urns.  The  principal  persons  of  (hU 
drama  are  a  veteran  soldier  and  liis  daughter,  nl>o  is  of  no  higher  a 
degree  than  a  domehtic  in  the  house  of  a  fanner,  whose  son  is  also  a 
solditr.    Tlie  alFictiiiiii  and  mlsfortiinea  of  these  worlhj  pcojile  arc 

ini.:ju..uiilctiUi[i<llliLTala6lrophearc»'roiif;hl,Eiiul  nalurall^' ivrou^jh I 
(we  lielicve  Ihe  story  is  founde.l  in  facl)  by  Ihnl  bird  of  mischienmg 
activity  wliich  givrs  Ihe  piece  its  name.  The  succession  of  emotion 
is  from  rapturous  expectation  Ibruugh  misery — tbe  very.decpi'st 
misery — to  hnppiness  made  more  intense  by  Ihe  contraBt.  The 
legitimate  construction  of  an  overture  is  now  unilcrstood  to  cnmprc- 
hend  the  regular  design  of  anlicipating  by  a  serii's  uf  musical  %nrcs 
the  nature  of  the  piece,  ftossim  working  upon  this  model,  begins 
his  composition  by  l>vo  long  rolls  iipnn  llie  siile  drnin,  by  which  he 
images  ihc  coiincclioii  of  inililaTy  cliar.iclers  :iiid  i^vciils  in  Ihe  ruin- 
ing story.  The  wliolu  uf  ihe  lirit  inuvi'incnl  t^liibils  a  siiiguhir 
tissue  of  inler^als,  jiliraies,  and  modulation,  producing  melaneholy 
in  that  gentle  degree  that  is  at  Hist  barely  perceplible.  The  second  is 
suddenly  introduced  iind  is  in  the  minor  key,  adopting  for  its  theme 
the  principal  passages  ofB  duel  in  Ihe  second  acl,  which  the  composer 
by  Ihij  incorpomlion  into  the  overture,  has  marked  as  tlii;  most 
afiVcliiig  and  ijea ii I iful  fabric  in  the  piece.  Wo  fully  accord  \iiih 
this  preparatory  judgment  pronounced  by  the  author  himself.  The 
•entimeat  is  certainty  powerfully  and  patbeiically  expressed  by  Ihe 
bossf  Btid  the  Img  dwelling  upon  this  peculiar  tbeme,  wilb  its  ocm-' 


Lk  CAZZA  LADRA. 


■ional  appearance  alraDit  until  the  end  of  the  overture,  pourtraj-s 
tlic  cuniiniinl  ndmiittnre  of  moamful  evetila  and  oTerahelining 
griefs,  wiiliout  however  any  sudden  buTsta  of  peuion,  white  it  pre- 
sagpi  liie  general  dc|)ression  arid  undeflnable  sense  of  sorrow  iihich 

as  the  ]  pre  veiling  feeling,  hatli  a  novel  niiJ  ait  admirable  eficcl. — 
'I'lii:  (r:uisiliiin  lo  more  tlie;irfiil  piissiigfs  is  very  graifilal  anil  in- 
leriii|i(Ml,  lliuugli  lilt  gvi;iliirc  tnils  bj'  an  expression  of  unnlliijeil 
hap|iiiii'BS.  ll  would  appear  lh;il  lliere  woi  iK'resiiiiitdi  piirtnreffijin 
llif  iiik'uliiiii  of  c\iit:llj'  fiilloniiii;  llie  sliiry,  flit  as  (lie  diicoverj  liy 

glance  it  wiiuli!  lie  cunteived  lliere  ivoidd  lie  a  siiddrn  burst  from 
Borrow  to  joy  in  I  lie  overture.  On  cuamiiialioo  liowi-ver  it  will  l« 
found  Ihnl  the  discovery  of  licr  innocence  is  not  receired  by  A'tnrffa 
vith  instant  rapluie;  slie  appears  slunneil,  and  mingles  cxprcuiont 
'  both  of  jo;  and  sorrow,  till  she  al  last  concludes  by  an  unteierved  ex< 
preaiion  of  delif  hL  Tlib  also  is  the  courie  punned  in  the  overture. 
There  can  be  llitle  doubt  that  this  anticipatory  introduction  nai 
written  hsi,  hy  llie  cumbiiinliun  uf  passages  it  cxiiibils. 

Tlic  o[)lt:i  npcris  m  iili  a  livik  tlhiriis  uf  peasants  expressing  tlieir 
jiij  al  flii;  ri  liirii  uf  (•iiuiiiclln.  .in, I  in  uliicli  tile  Mng-plc  is  inlrodiicrd. 
Tiie  cliuriis  colli  iimes  inleiniplnl  n.  e.i-ionallj  by  jobs,  Tliese  solos 
aic  of  llie  simplest  kind,  nnU  iliis  .■.L  ii|i!ii-ii_v-  conveys  the  idea 
of  tlie  careless  nnil  soraen-lmt  b(>L^(l'^(>1ls  miilli  uf  tin;  loner  orders. 
One  of  lliein  only  is  al  nil  fluiid,  and  llie  ornaments  ai&ved  arc  of  the 
plainest  species,  althoagh  far  from  common  place,  Thb  remark  b 
more  strongly  lAt  on  luraing  to  the  atr  which  follows, "  Di  jdwr" 
in  wlitcli  NinrUa  anticipates  the  delight  of  meeting  her  father  and 
her  lover,  nnd  wtiich  conveys  the  same  expression  of  perfect  hap- 
piness, but  (iisplEijed  uitli  more  delicacy.  The  adagio  movement 
is  truly  (iriginal.  It  ripens  willi  a  burst  of  delight,  and  (he  filinl 
alfiTliiin  expressed  in  llie  words  "  I-'im  at  sen' mi  ttringem,"  and  the 
hesit.ilion  npon  "  T  n!!r»  ah  rtie  fiiia?"  is  very  happily  conveyed. 
The  nllegro  movement  is  in  IIdssim's  best  manner,  and  the  accom* 
paniments  my  materially  aid  the  air. 

A  Jew  Pedlar  nest  enters,  and  proclaims  his  wares  in  a  short  air, 
with  a  drone  ba»  ;*aven  in  which  short  nit  Roesiki's  ^wer  over 
melody  is  rannifeited. 

Giaimeflo  returns,  and  the  covalina  which  introilaces  him  to  (he 
scene  is  intermpted  or  accompanied  'by  a  diorui.   It  if  extremely 


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LI  OIZZA  LADRA. 


floridj  but  highly  ciprcssive  of  tendcrncsa  aod  joy.  It  is  in  tbe 
ityteoftbUcaTBlinB'tbat  RoitlHI  excels  ;  and  whicli,  indeed,  may 
be  termed  his  ovm.  He  certainly  posiesses  the  poui^r  of  applying 
ornamental  pawage*  to  passioD,  wliicli  if  nnalyxed  nill  be  generally 
found  (o  consist  of  elaborate  graces,  adnpted  to  the  limplest  musical 
plirases.  Such  ornaments  arc,  however,  pcculiarto  himself;  for  we 
find  few  of  them  in  other  compositions.  The  melody  of  this  song  U 
particularly  smooth  and  gracefid. 

The  solo  and  chorus,  "  Tocchiamo,  beriamo,"  are  very  spiriled  ; 
the  florid  passages  of  the  two  fir^t  solos  are  again  completely  charac- 
teristic. The  solo  and  chorus  in  -f  time  is  a  very  elegant  waltz ; 
there  is  a  freedom  and  gaiety  about  tliis  last  piece  highly  suitable  to 
llie  scene. 

In  the  next  Fermada,  tbe  fkther  of  Ninetla,  enters  in  disgaise.— 
He  rclales  (in  recitative)  that  aa  asking  leave  tn  visit  his  danghter, 
bis  commanding  officer  had  refused  him — llwt  an  expreidon  of  con- 
tempt escaped  him,  a-  dispute  ensued,  he  dretr  upon  his  superior,  moi 
disarmed,  and  condemned  todeath.    From  this  sentence  he  had  fled. 

Mnef/a'i ejaculation,  "  Miserame!"  is  most  ei press! vcly  intro- 
duced, and  the  duet  which  follows  is  finely  conceived.  For  the  first 
few  bars  the  accompaniments  image  the  confusion  of  mind  attending 
tbe  recital  of  the  story,  while  the  vocal  put  is  conHned  to  brief  and 
broken  sentences.  The  beaut^ul  piece  of  melody  accompanying;  the 
words  "epur  ill  ipeme  Hit  mggib"  has  a  delightful  e^t,and  perfectly 
irnoges  the  words.  The  andanlino  movement  is  highly  cspressive 
and  soraewlial  singular,  as  the  lower  part  is  more  florid  than  the 
upper.  The  last  part  of  the  duel  is  produced  by  the  approach  of  the 
Pudesta  or  magistrate  of  the  vilhigc  and  is  mailc  up  of  I  he  terrors 
which  both  father  and  daughter  espL'iiiTiti;  nt  Ih::  a]ipri.'in.Tisiijn  iif 
thedanger  Fernando  may  incur  from  being  observed  \iy  liiin,  Tlic 
movement  consists  of  lEiterrupted  sentences,  :im1  the  (remiindu  accom- 
paniment adds  very  much  to  the  cQbct.  Thi^i  duel  is  piirdy  drama- 
tic, and  is  written  with  n  strict  attention  to  (he  particular  situalioD 
of  the  parties.  The  transition  from  perfect  joy  so  finely  expressed 
in  every  note  of  the  preceding  pari  of  the  opera  to  such  deep  misery, 
it  strongly  felt  in  Ibis  dnet,  and  by  this  means  the  result  U  much 
heightened;  but  the  mind  roust  have  been  previously  much  acciu- 
tomed  to  the  expedients  of  Rossihi  to  enter  into  and  admire  tbe  full 
force  of  the  arpcggic,  whioh  lapieient  extreme  mental  agitation. 

VOL.  HI.  IIO..X.  I.  1 


258 


LA  nAZZA  LADRA. 


An  air,*  by  the  Podesla,  follows,  very  unlike  those  usually  wrillen 
fur  bass  Toices,  being  cxlremely  light  and  flutiil.  It  is  liatdly  tube 
called  a  song  of  executi.iri,  iiiul  yd  i(  rcqicires  very  peculiar  poHCta, 
Tlie  tiffioranpeiiti  atf;  nlmlly  nini'l  for  biisscs,  and  wc  slionlil  lliink 
very  ill  adapleil  to  the  Icgitiranle  bass  voite,  fiom  their  structure 
and  rapidity.  Ill  lliii  song  wc  find  many  passages  that  are  familiH 
in  Rossini's  compatitioiu,  butll  for  tenors  anil  sopranos,  I(  h 
amongst  the  peculiarities  of  Rossini  to  employ  constantly  duelled 
portions  of  his  theme  in  the  accompanimrnt  and  voice  part  alter- 
nately, somelimes  the  one  commencing  and  the  oilier  continuing  the 
melody,  or  vice  versii ;  and  lliis  not  in  the  fashion  in  which  the 
same  air  is  repealled  liy  ivay  of  rllornelh.  This  song  explains  ihe 
I'odfsla's  amorous  views  upon  Niticlla.  He  asks  who , /erTionrfo  is, 
she  tells  bim  a  poor  traveller,  who  begged  refreshment,  and  who 
is  gone  to  sleep.  The  magistrate  is  lN<giniiing  to  press  his  silil,  when 
a  messenger  arrives  nith  a  dispalcli  from  (lie  military  commandant 
—the  agilallon  of  the  father  and  diiugliler  beoomca  extreme.  The 
dispatch  proves  to  be  a  description  of  I'emtindo's  person,  witb  aa  o€- 
der  to  anest  htm  shouiu  ue  pass  iiirougn  uie  Podeita's district.  The 
magulnte,  not  being  able  to  find  his  glasses,  wbliei  Suielta  to  read 
the  dispatch,  who  by  ingeniously  changing  .the  terms  of  the  descrip* 
tlon,  saves  her  father.  The  Podesta  examines  him,  but  the  likenen 
does  not  accord,  and  Fernando  is  roughly  ordered  to  depart^  he, 
bowever,  conceal)  himself,  and  a  trio  succeeds,  in  which  the  magii- 
traterencwshiratlcmpts  upon  Ninella,  she  repulses  him,  and  finally, 
the  father's  aSection  for  liis  daugiitcr  getting  the  belter  of  his 
prudence,  he  rushes  to  protect  his  daughter  from  the  Fodeita. 
This  trio  is  bighly  expressive  and  effective.  Tlie  first  movement 
is  in  canon,  and  tbe  several  parti  are  imitative  tbrougboul.  Tiie 
accompaniments  are  every  where  snbi^inate,  and  the  conclonon 
Bnely  worked  up.  The  last  movement,  commencing  "Nonsoqutl 
chefarei,"  is  highly  impassioned.  Tills  trio  we  consider  amongst 
the  most  masterly  writing  in  the  opera. 

In  the  succeeding  scenes  (conducted  in  recitative,)  events  which 
have  a  coinciding  importance  in  the  denouement  are  opened.  In 
the  early  part  of  the  drama  NiHtUa  has  been  cautioned  by  her  mis- 
tms  to  be  careful  of  the  allver  forks  and  spoons— ope  fork  bad  leoei^ 


*  Ooiitted  in  the  repreientatloD  at  the  Si^i  TbMtr^  aadjndleteuly. 


259 


t;^  been  loit.  Ritwido,  in  his  distress,  gives  liis  daiiglitcra  fork  and 
spoon  todiipOKoT,  anddeaues  that  llie  rauncy  arising  rrom  Ihc  e^tle  ma; 
be  placed  ia  B  holluw  (tee.  A  Pedlar  arrives  and  Ninetta  bc\U  him  the 
finrk  and  ipoon.  Soon  after  het  mistress^  Lueia,  cnlen,  and  counting 
Ibe  pliUe,  percelvei  that  a  apoan  it  musing.  Hmelta  lias  in  the  mean 
while  iaformed  her  fdlow  ier?an(,  PippOf  on  bii  enquiring  wliy  the 
Jew  «aa  admitted,  that  sbe  wanted  mane;  and  had  sokl  him— Pippo 
intemtptt  her  by  saying,  "  some  Irinkets,"  and  kindly  reproaches  her 
for  not  applying  to  him.  The  Msgij^lr.ite,  wlm  Iieis  came  to  visit 
Giattnetto,  being  present  when  the  spoon  is  inisseii,  insUfs  on  nn  ex- 
aminalinn.  Ninttta  is  guspeclcd,  and  in  taking  her  hamlkcrcbicf 
from  her  pocket  to  wipe  away  licr  fears,  the  money  she  has  just  re- 
ceived falls  from  it.  Pippo,  to  extricate  her,  discloses  that  slic  liad 
it  froni  the  Jew,  in  payment  for  looie  trinket*,  who  i«  immediately 
seal  far.  la  the  progress  of  her  esamination  the  Magistrate,  {who  is 
uutigated  by  rtrenge  and  by  the  h<i{)e  of  worktag  upon  Nbiella't, 
fears,)  discovers  the  deception  she  has  practised  upon  himtoisTeher 
fttber.  Tiie  Jen  returns  and  rehlcs  the  sale  of  the  fork  and  spoon, 
which  he  says  lie  lins  ]y,iYtc!i  wilh,  but  tlie  letters  on  them  were  F.  N. 
(be  initials  both  ol'  lii'r  fatlier's  nnil  lier  niaslcr's  name.  The  guards 
are  sent  fur,  and  a  scene  of  aircdon,  misery,  CDii^tornali'in,  and  hor- 
Tor  succeeds,  to  which  all  (he  drams  lis  pcTsimre,  cxccjil  l-emamh,  are 
parties.  In  the  end  Niiiclki  is  dra^'ijed  to  prison.  All  these  emotions 
are  worked  into  a  fioalc,  which  bears  evident  marks  of  science, 
l^ni^  and  care.  In  the  opening,  the  lively  accompaniment  conveys 
Ibe  idea  of  the  Magistrate  rejoicing  in  the  prospect  of  revenge.  Tlie 
dIArent  feelings  of  the  diaractcrs  are  finely  pourtrayed.  The  solo 
b^i«nf  ng  the  andante  movement  iu  four  flats  conveys  a  more  perfect 
senae  of  misery  than  any  passage  we  recollect ;  and  what  ii  singular, 
by  cl^anging  thejiey  the  same  passage  has  nRemanlsatotally dif- 
ferent expression,  ntid  perhaps  one  equally  gnotl.  This  portion  of 
the  linalc  is  finely. imagined,  llic  exultation  of  (lie  Magistrate  is  dis- 
played chiefly  liy  arpeggio  passages,  so  coniilrHcled  as  lo  denote  at 
the  same  lime  his  bad  passions,  Ihc  other  parts  venting  tTieir  grief 
and  despnir  in  short  and  detached  sentences.  The  arrival  ofthe  mi- 
litary concludes  the  finale,  which  is  here  eilended  to  eleven  parl^ 
is  filled  with  imil.ilions,  and  worked  up  in  a  most  masterly  style. 

The  secend  act  opens  with  a  recitative  by  the  keeper  of  (lie 
tHiMD}  wbo  comes  to  ofler  NintUa  such  consolatuKi  as  lies  wi^iin' 
T,  I  8 


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L4  CAZZA  UDRA. 


bis  power.  Niartta  appears,  and  to  them  Giannetto,  who  come* 
to  Tiiit  them.— The  scene,  therefore,  bi^ins  in  lolo,  brraka  Into 
duet,  nail  concludes  in  trio.  The  whole  is  descriptive  of  tlie  niB- 
tual  aSection  of  the  lorcrs,  not  howcrcr  unmiiccd  wilh  llie  donbts  of 

Giannello  as  to  licr  innocence,  fostered  by  her  silence.  NineUa  ex- 
phins  it  to  originate  in  a  mystcrj-,  (lie  ilisclosure  of  which  may  be 
injurious  (o  another.  She  is  prepared  (o  suffer,  but  (rusts  that  Gian- 
Tietto  will  one  ilay  be  convinced  of  her  purily.  Tiic  first  solo  cif  M- 
ncHd  resembles  in  scnliracnltlicair  in  Tuncn  di,"  Xii  chr  iiio}ir  non !;" 
sung  by  ^menaide,  in  prison.  This  solo  ii  lioiicvir  U\c  inferior  to 
her's  in  expressioii,  indeed  it  contains  but  one  sttiliing  passage  on  tlie 
words  "e/raPontbreatlorsar6"  It  is  singular  (hat  Hossini  sliould 
have  chosen  to  make  the  flrst  strain  of  this  terzetto  ami  (hat  of  (be  air 
suitg  by  the  Podesla,  note  for  note  the  same,  the  lime  only  differing — 
the  one  being  in  common  time  and  (be  other  in  and  the  cxprt-S' 
sian  is  totally  altered  by  the  former  being  a  staccato  ami  the  otlicr  a 
legato  passage.  The  opening  of  the  allegro  movement  is  too  light  for 
the  nature  of  the  scene,  the  conclusion  however  redeems  it.  This 
KceiLc  is  less  eirective  than  any  part  of  o[)cra. 

TJie  interview  •  of  (he  lovm  is  inlertupted  by  (be  arrival  <if  llic 
Podesla,  who  Romes  with  the  double  intention  of  reassuring  Ninella, 
and  of  working  upon  her  hopes  of  life  in  his  own  favour.  Tills  is 
terminated  a  summons  bron^ttothe  Magistrate  to  ailenti  lhc?>es- 
uon.  His  solo  coranienees  witb  an  andante  filled  with  graceful  pas- 
sages, in  RossiHi'a  onn  novel  manner,  which  it  is  impossiblc  for  anj 
but  the  ligbteit  Toioes  to  execute  with  effect.  The  melody  is,  liowr 
ever,  very  graceful  and  expressive.  A  chorus  follows,  inlerapened 
witb  solo.  Thcvivace  is  an  elegant  air,  but  inapplicable  to  the  situ- 
ation; the  vide  dntaoces  on  the  words  "nin  lardi  sarii,"  are  singular 
and  banlly  agreeable.  Such  intervals  arc  frcqncntly  used  by  Ros- 
SIHI,  as  well  as  other  comi)users  for  basses,  but  he  usually  reduces 
tbem  in  fact  by  llm  iulrudiielion  of  ornameiils. 

Pippo  artlic.E,  and  Niiidln  entrusls  liim  (o  place  three  crowns  in 
the  hollow  tree,  offers  a  cross  as  a  pledge  for  the  sum,  and  a  testi- 
mony of  her  regard.  She  also  sends  by  him.a  ring  to-her  lover. — 
This  duetto  contains  as  genuine,  and  as  extraordinary  expression  a* 

*  Hera  the  scene  is  changed  !n  the  Engllib  trtn^tTon,  from  the  pHson  to 
Uk  booie  ot  Fabrah—fihj  is  not  n  clearly  disoover*bIe> 


Ul  GAZZA  LAD  SI. 


may  ibing  we  have  jet  Ken  from  the  buidi  erf  Roniirt— we  m^ht 
almoit  mj  il  U  composeil.  of  ftrpeggia.  Tbe  melancholy  conveyed 
by  tlwsc  clioids,  ffbrre  tlie  voicLi  aiiife,  b  exlromely  bcMitiful.  Tbe 
effect  of  tbe  allegro  luoronunl  depends  on  tlie  accompaniment,  vliich 
»  a  repeliCion  of  that  in  tile  overture,  while  llic  voices  hnve  short  and 
inlerrupled  solo  passages  alliilleil  Ilium,  llie  iiiippr  coiisisling  uf  a  re- 
petition of  little  mure  ihiin  one  niile.  1(  i<  iiii{>iisst!ile  ((iiJe>cribe  ihe 
pathetic,  hearl-brcnking  effect  of  lliis  movement.  Tlic  dnet  con- 
ctuilcs  allegro  assai,  anil  i>  decidedly  the  most  original,  beautiful,  and 
affecting  piece  in  the  whole  work. 

Tbe  scene  Rotr  cbangei  lo  tbe  bouse  of  FoirKio,  where  Zjrcio,  his 
wife,  is  meditating  in  Mrrow  upon  Ibe  possible  innocence  of  NmtUa, 
when  Femmdo  ealernand  extoriB  by  b'u  enqairies  for  his  daoghter, 
tbe  knowledge  of  tbe  fads  (bat  sbe  is  a  ji  prebend  3d,  and  at  that  mo- 
ment on  ber  trial  for  the  cliar^  of  theft.  An  nria  by  him  otl  dis- 
covering Ihe  cliild's5i[ualioii,  contains  some  line  passnges,  but  it  may 
perhaps  be  classed  with  tint  species  of  verbal  cumposiliim  lyliich  on 
out  stage  nould  be  called  rant;  il  bowcver  relieves  liic  niinil  from 
the  depression  wbich  bilheitohad  increased  from  the  com  men  cement 
of  the  opera. 

Tbe  trial  and  the  judgment  succeed,  by  which  she  is  unanimously 
Cound  guilty.  GktmeUo  txrgea  upon  tbe  court  tbo  concealment 
•he  votualarily  imposes  upon  keraelf,  when  her  iatbei  enters,  but  the 
sentence  is  passed,  and  he  is  borne  to  prison,  sbe  to  the  place  of  ex- 
ecution. 

Emeslo,  Ihefriend  who  assisted  Fernando  in  his  fii^'iil,  now  arrives, 
And  Pippo  directs  him  to  tbe  houses  of  the  raogislrale  nrid  Fubihio. 
Pippo  then  seals  bimselfin  despair  on  a  bencli  near  a  church,  and 
begins  to  count  liis  money,  amongst  which  is  a  new  piece,  given  him 
formerly  by  Nmctta,  whieh  he  lays  wilii  her  cross  apart.  The  Mag- 
pie alights  on  the  garden  gale,  near  which  Pippo  i>  scaled,  im- 
Biediately  seiKs  the  piece  of  money,  and  flie*  wllli  it  to  tbe  belfry  trf 
the  church  tower.  Pr;ipo  and  AtOomo  climb  of,  and  there  tl>e  former 
diicovers  the  fork  and  spooct  which  it  thus  appean  were  conied  off 
by  tbe  DusohieTQui  bird. 

The  processIoB  te  the  place flfeKGulion goea  on,  but  jpfpporlngs 
the  belt,  stops  llie  flitat  catastropbe,  produces  the  lost  properly,  and 
Jl&dts  is  saved.  Enmto  ii  the  bearer  of  Fenvmdo't  pardon,  and 
tbe  opcfBGODclndea  with  the  felicity  of  all  but  the  hasty  and  «rbi-' 


trary  F6deBlB»  wbo  b  terrified  at  the  repmcfaei  of  liii  own  con* 

Our  article  lias  stretcheil  lo  suci]  a  li^nglh,  Hiat  we  can  only  nolitc 
some  uf  llie  must  striking  parts  itl' tUi:  c<>ni:liisinn.  Tlie  atlugiurnuvc- 
inerit  in  four  sbariis,  "  ^/li  qual  co/pn"  is  Iii^lily  i  ircclivc,  anil  (hi: 
florid  conslruclioa  of  tlic  bnss  ma\  hr  :i|;:iii>  iiudml.  Tlic  anitnnli', 
"  cheabisso"  is  a  quiiilult,  R-iiiaik:ibk'  iVuui  tiaviiig  no  rtccompa- 
nimenl)  and  the  rapid  htiu  running  ngainst  tlic  fi^w  notes  of  the  othpr 
parli  is  at  least  amgnlar.  The  finale  openi  nith  Bmarchiii  Bminor, 
which,  united  with  the  chorus,  hat  an  e&ct  l)eaatifull7  monrnliil. 
The  jof  otl  the  dUetnerj  o(  Nmdia't  inaooencc,  the  nncerluntf  of 
her  existence,  and  beiown  ignorance  of  her  fBtbcr'a  &(e,  are  all  finclj 
eipi«Med. 

When  we  endearour  to  ■nm  up  the  total  of  tbe  feelings  and  epl' 
nions  generated  hy  Ihii  opera,  the  judgment  is  dialractcd  by  a  great 
Tarlcly  of  con  Hiding  and  pariidiixical  sentiments.  Pi'rhnps  it  is  liic 
most  scientific  of  any  ol  Hosbini's  works  wu  have  seen — perlinps  it 
is  wrought  and  finislied  with  greater  care  than  nny  of  his  former 
productions — pcihaps  there  is  as  mucli  intense  interest,  or  even  more 
concentrated  passion  in  many  of  its  parts,  than  can  be  paralleled  in 
bi*  earlier  pieces.  There  ii  certainly  much  beautiful  melody  and 
more  of  the  very  curious  application  of  ornnmcnlal  panagei  to  the 
cxprmion  of  passion — all  these  are  unqnntionably  the  beauties  of 
tlie  porformance.   We  cannot  liowcver  esteem  it'  tn  be  equal,  either 


in  ilE  (irst  gcucral  ofll-cl.  or  in  prodncinc  tlial  vii 

id  train  of  recolleC' 

tions  which  is  the  essential  atlrilmle  of  super 

iority.  Tl,eopen> 

wants  n'licf,  as  artists  say.    Prom  The  iermin:iii< 

an  of  the  first  (litct 
■-(Oil  ncnimiilatcfl. 

bclwccn   Fcriinnilii  and  hu  dEiin,-nii'r.  nir  di'iiri 
growing  gnulniiUy  m. 

ill  U-A  il  U  nimosl 

loo  much  lo  iienr.    Tno  fuw  soloi  art  iionif  i\m\ 

11  l>v  tlic  concerted 

pieces  with  which  they  are  pniiciii.iiLv  iiirrTmiii 

have  the  same  oppressive  cliaracler.    Lvin  ti 

lint  composition  of 

estraortlinary  merit  and  power,  the  dnci  bclwccr: 

1  MoMa  nnd  Ptppo 

In  the  second  act,  either  from  its  length,  posit 

ion,  or  some  other 

cnasc,  produces  lanjruor  as  well  as  intense  sorrow.  We  place  Ibis 
weariness  to  the  account  of  the  wearing  repetition  of  arpt-ggioi, 
principally  upon  the  chord  of  (he  seventh. — But  however  this  may 
ln',  the  Oppression  continues;  the  absence  of  loloi  is  felt;  nor  is  the 
opera  ligbleocd  at  its  close  by  a  bnlliaat  toHnination,  as  ii  tbe  caw 


LA,  n*y«*  LA  DBA. 


263 


in  Daundi.  It  ihould  IberefoTe  appenr  Ibat  lU  the  mpposiiioos 
adTiatagca  of  science  nad  polish  are  nmged  in  the  vanl  of  eficci) 
frooi  one  or  more  of  the  cawes  we  have  leciled. 
1(0137  afford  us  hereafler  a  curious  subject  of  enquirj,  to  endeavour 

to  ascoiluin  wlictlirr  the  nature  of  Ilic  sentiments  and  of  the  incidents 
wliLcli  niiikc  Li|)  such  pieces  as  the  one  before  us  maj  not  contribute 
to,  if  nut  Riilirvlj-  ai:cuiiiit  for,  the  languor  that  succeeds  the  represen' 
lat[Dn.  Wenre  incliiioil  tolhiiik,  Hint  while  the  mind  k  highly  wrnught 
by  file  h.lly  rvfiils  of  llic  reiil  Iriigic-cpic,  it  is  not  alfcclcd  lo  Ihc 
same  dognc  Ihiil  it  is  by  this  closer  ap]iro\imalion  lo  domt-Mic  life. 
In  the  snmc  mnnncr  »c  know  it  is  nut-  This  appi'ars  to  originate  a 
nice  distinction  liclween  tlie  r fTect  of  sorrous  that  are  purely  ima- 
ginarj,  and  oblations  wliich  nrc  so  near  common  life  that  tbe;  are 
fell  almost  with  Ihe  renlilj  of  domestic  griefs.  At  some  future  time 
we  mnj  pcriiaps  find  n  clue  to  this  supposition,  and  in  (he  mean 
nliilc  we  invite  Ihe  attention  and  assistance  of  those  among  onr 
readers  ivlin  devote  their  leisure  to  (he  ioterettiog  detrelopemeot  of 
Ihe  springs  that  govern  the  liuinan  afTeclbiu. 


S64 


THE  REVIVAL  OF  ARTAXEOXES  AT  DRURT-LANE: 


FEBRUARY,  1821. 

The  circumslances  wliicli  luivc  adeiiilpcl  flie  jjetrormance  of  llii* 
Opcrn  arc  of  n  kind,  it  sIidiiIiI  scpni,  lo  rnll  fur  snmc  clu.'.crlptioa  and 
someanimndvcreioii  frniii  \tho  miilctlaku  tu  Mirvoj-  anil  1u  record 
the  ]irogrcss  of  leading  musical  evcnia.  Such  n  task  however,  in 
il^cll'  very  iklicaic,  in  (his  instance  is  rendered  peculiarly  ea,  by  the 
necessary  iiilroiluclion  of  the  Daroe  and  laleiits  of  ajonng  candiilolfl 
for  |>i<bllc  :ip|)ru billion,  vrhose  entrance  inio  llie  itormj  life  she  has 
ail  vcnliirci)  upon  has  been  apparaillj/  most  successful,  but  reallj',  as 
ive  arc  appreliciisivc  it  will  be  found,  injudiciously  comliicfcil,  "hen 
tiini;  s\iM  have  unveiled  the  arU  which  have  but  too  probably  been 
lesortej  In,  and  shall  have  bruiiglit  to  a  just  slandard  the  genuiuo 
mcrils  of  the  person  whose  abilities  and  ncquiienienia  have  been  most 
extravasEinlly  csliillt-d.  The  reasnna  whii^hciill  fnr  this  explanation 
involve  alike  the  inlercsts  of  the  piihlic  itself,  of  the  instructors  of 
public  singers,  and  of  the  individuals  who  may  already  have  em- 
braced or  may  hereafter  enter  upon  the  arduous  profession  of  which 
we  arebj  duty  tlie  guardians ;  and  if  ielf-clccled,  the  validity  of  our 
acts  will  be  coofinned  or  nullified  by  the  only  jurisdiclion  that  con- 
fen  power,  by  the  flat  of  trnlb,  and  the  general  deference  tfaat  fiat 
obtains  from  the  world  at  large. 

Mb.  Welsh  has  been  long  known  lo  the  musical  world  as  a  singer, 
a  coiDposcr,  and  an  instructor.  He  is  eminent  in  science  and  unble- 
mished in  character.  We  are  most  anxious  to  aivaril  these  praises  lo 
him,  because  Ihey  have  been  honourably  earneil,  and  because  we  fcnr 
it  may  be  tliouglit  lie  lias  been  allured  to  depart  from  the  general 
good  ecnsc  which  has  hitherto  regulated  bli  condnct,  in  the  inilance 
of  which  we  are  about  lo  speak. 

HisB  Stephbhb,  after  pasaing  lorae  conaiderable  period  nnder 
thetnltionof  Hb.  Lanza,  became  the  pnpHof  Hk.  Wbliv,  nho 
introdaced  her  into  public  life.  From  that  eminent  singer'!  aDcceu- 
ful  career  he  bad  derived  a  great  accenion  to  hit  repute  u  a  public 
teacher.  It  lome  time  aince  became  tbe  lubject  of  GonT«iatioii  in  the 


DigilEzed  by 


AT  DHURV-LANE. 


265 


musical  circles,  that  n  young  lady  named  Wilbok*  liail  been  placed 
nndBT  bii  tuldage,  whose  natnral  powers  promised  a  foitone  the  most 
btilUant.  Tbu  favoamble  report  wotdailr  gatheiingslrcnglfa,  when 
A  trial  petformance  at  the  Argyll  Rooms  was  arranged,  and  e  consi- 
derable number  of  scicntilic  musicinns  and  amateurs  were. invited  to 
attend.  The  sfan^  nas  prcpnrcd  witli  appropriate  scenery,  and 
MiM  Wilson  went  through  the  songs  of  Arlaxerxcs,  other  il ram atis 
persons  being  rcpreaenird  Ly  three;  (;enlbraen.  The  result  of 
the  eveniiiif  was  ttic  Cdnciliiitmn  ol  a  liitgi;  number  .of  muaical 
people  lo  the  side  ot  the  yoiin/;  ricbulaiile,  and  so  far  as  our  infor- 
mation goes,  It  seems  to  be  universallv  agreed  that  there  was  consi- 
derable promise — but  that  instruction  bad  bj  no  means  completed 
its  work.  A  great  natural  impediment,  wbicb  tendered  articu* 
lation  extremely  faulty  and  imperfect,  was  however  observed  to  be 
not  only  not  removed,  but  too  probablv  irrcmoveablc,  while  in  re- 
gard to  mechanical  excellences  very  much  remained  to  be  done. — ■ 
With  respect  lo  the  lulellectuiil  ilireclioiu  the  granilest  and  most 
supreme  faculty  (hut  cmnhicls  lo  gicittncss,  no  opinion  cuu!([  justly 
be  formed,  because  whatever  of  imacmalion  ao  young  it  performer 
might  exhibit,  must  be  lor  the  most  part  atlributable  to  the  instruc- 
tioni  of  ber  master.  Upon  the  whole  then  it  should  seem  doubtful 
wbelher  in  this  exhibition  there  was  any  thing  to  allract  eitlior  cs- 
(nofdinary  notice  or  extraordinary  praise  from  pi^rnousof  red  science, 
fant  neTerthelen  the  moat  extravagant  reports  were  subsequently 
propagated. 

AloUMt  synchronously  with  this  concert,  His  MAJEsTr,  who  is 
justly  acknowledged  to  he  a  fine  judge  of  vocal  art,  heard  Miss 
WitiON  at  the  house  of  Lad  v  Hahcodrt  ;  we  have  good  reason 
to  believe  that  the  Royal  auditor  very  niiich  conlirmed  the  senlimcnls 
of  those  judicious  persons  who  were  prpsciit  nt  Ihi;  Argyll  Rooms, 
and  in  the  notice  The  King  wns  plcust^d  to  vouchsafe,  Uia  Majes- 
ty particularly  suggested  the  ncccsity  and  the  beauty  of  clear  arti- 
culation in  singing,  together  ivith  an  ojiiniun  that  a  visit  to  the  Con- 
tinent would  probably  greatly  tend  to  tlie  improvement  of  Miss 

*  Mus  WiLSOM,  it  ia  i^d,  was  roeamnianded  lo  Mb.  Wei-su  by  Sin  Jontr 
SHRiaHT,  who  acddentiUy  lieard  her  al  her  Tattler's  bouse,  ia  St.  George'i 
Flddi,  and  liid  been  instructed  by  Afr.  W.  for  a  coniiderable  period  Iierore  , 
her  abearance  at  the  Ai^yle  Rooms. 

Vot.  III.  MO.  z.  '        N  m 


266  AATAXERXEB,  AT  DBDRV-IUIE. 


Wilson's  sl^let  to  what  parpose  Tar  King's  anthoritj  mt 
turned  the  following  cstract  will  tbaw.  The  parsgrapb  quoted  ap- 
peared in  the  Morning  Pott  ofSalardajr,  Jan.  13. 

MIBS  WILSON. 

This  accompltihed  Singer,  nhoie  pairers  of  toicq  are  UEnnlUlad  fo  tboie 
oflho  nonderrul  IliLLmoTOH,  uid  whose  fame  In  the  Miulcal  World  ii  probft- 
b[y  niucli  higher  than  that  of  anj'  deiutante  for  6[ty  yem,  vill  ^qipear  on 
Thursday  nf^t,  on  the  Driny-Une  boards.  His  Majesty  the  Kina  (whose 
profound  jndguient  in  nuuiEbu  been  Terj  long  prorerijial),  hu  proaonnccd  her 
superior  to  aaj  linger  he  haa  heard  for  manyVears.  TM«  biauable  report 
(and  fVom  ineb  >  quarter)  hai  Induced  Mr.  Ellistoh  to  engage  ber  for  a 
limited  number  of  nightt,  aod  on  such  immenie  termi  aa  $p»k  ninnies  In  her 
'  favour.  Ulandane  introduces  ber  to  an  English  audience  on  Thundaj'.  We 
hare  already  slated  (hat  sho  is  the  Pupil  of  Mr.  Wei,su,  who  intraduced  the 
ildigiilful  STi;.>ni:s.  lo  ihe  London  branis. 

It  was  III  us  nnjiounccil  liial  this  j'ciung  Iiuly  would  nppearas 
dime,  in  Arlaxcrxes,  at  Ufury-lanc.    On  Tliursilay,  Januarj  18,  she 
made  her  first  appcuiancej  and  licr  reccpliun  wns  most  flattering. 
The  newspapers,  generally  speaking,  were  filled  nilh  very  extrava- 
gant praises,*  from  wliicli  however  there  were  some  exceplions.— 


*  Misi  Wilson  (upon  Ihe  acquisition  of  whose  splendid  rocal  talents  we 
eordiilly  congratniatc  the  manager)  was  1a$t  night  introduced  to  the  public  in 
the  character  of  Manihne,  in  ilii^  i>]ietj  of  ^Irlan-rxcii;  and  neter  certainly 
Viaa  success  morn  com]ili>rr' or  iIch.tii'iI.  High  as  iiere  the  eipeclalions  formed 
upon  prciious  reporls,  (liey  were  innr«  fii^in  ri'.ili/.ed  ;  lot  the  transcendant 
excellence  displayed  ilinmirlinut  was  bej  ond  any  ihing  that  could  reasonably 
haie  been  eipected.  Though  it  may  be  deemed  much  to  say  that  there  is  no 
one  quality  necessary  lo  perfect  eicellence  as  a  first-rate  singer  which  this  lady 
doCB  not  emineBtly  possess,  we  An  not  hesitate  lo  pronounce  that  we  know  of 
no  requisite  to  such  a  consummation,  in  wliich  she  can  be  found  wanting, — 
With  a  loicc  of  power  quite  equal  to  the  space  of  our  large  theatres,  and  of 
compass,  not  perhaps  ejeeeded  eien  by  thai  of  CatAiasc,  she  mingles  radencea 
of  Ihe  softest  and  the  sweeleEt  tones,  and  a  degree  ol  feeling  that  seems  almost 
to  ritify  her  song.  On  her  first  appearing  upon  Ihe  stage,  supported  by  Mr. 
BrAtiah,  she  seemed  quite  orerpowered  by  Ihe  eicessirc  trepidation  which 
her  situadon  had  induced.  The  warm  encouragement  of  the  house  gradually 
restored  her  confideocei  but  it  was  not  until  she  sang  the  air  "4f  o'er  Ihe 
cruel  f^runf,  Ziose,"  tlat  a  full  sense  of  her  powen  teemed  to  bnrit  npon  the 
audience.  Eren  in  the  perfect  recollection  of  tbe  spteadi^  exerfigns  of  the 
wonderfal  BiLUNuroir,  we  Ime  nerer  heard  Hut  ddtghtfal  compotilisa  cxs- 
cutedwiih  finer  laste,or  more  brilliant  e^cl ;  where  its  own  cluuncter  wai  to 
beautifully  iiri".rrved,  and  ill  1(t  cbaslenus  to  entirely  conprebended  In  the 
style  of  tho  finger.  It  was  encored  with  enthunaim,  and  foUowed  again  by 
repeated  rouu<l;i  of  applause.  After  lliii,  ber  recitalire  b^me  more  dlitinct 
and  spirited,aiid displayed  a  rich  follnett  in  hertoneu,  which  frequently  elidted 
the  most  animated  and  enthniiislie  plaudits  from  all  parit  of  tbe  Theatre.  In 
the  beautiful  urt  of  "F(g  rq/I  idxu,"  and  "  Let  not  rage,"  the  was  also  ta& 


Digiiized  by  Coogle 


1KTAXERXE3,  AT  DRUKV-LANE.  267 

7%e  Timei  ipoke  very  favourably,  bul  jiisllj  taking  iiilo  consiilcr- 
nliun  the  iii'CcssarT  allowance  wliicli  oiiglil  aliiiiya  be  graiilcd  fntlie 
iiiditlgoiit  tccliiig  due  (o  young  niii!  mcriluTiniis  cITDrt.  As  Miss 
Wii.soy  contiiuied  iicr  exertions  tlie  most  ubsiitd  prnisca  ivetc  re- 
pealed.*   Acts  ol  eunrtesy  and  kindness  from  Mas.  Suiuoss  and 


rently  happy.aiiil  Ihuncli-rs  or^ipiiliiu-^  rrOH  nr^d  lnTrri.iiinilly  siirrcssfiil  i-fTorts  ; 
but  her  bi«tura  singing  in  "  i'Ae  S.Mrr  Ur'd"  was  lier  cliej  iCn:urri:,  Poh-it, 
npiditf  of  eiecutioD,  flnd  the  nio^t  iniimte  precision,  ncrc  coinbinpd  to  their 
mmotl  perfeelibiiUj.  Tlie  uhiile  manner  in  »)iich  slie  pecformcd  the  air, 
brdblf  TtDdnded  U  ofthit  hitherto  unparalteiled  hrilliancy  uith  nhirh  Mri. 
BiuiMQTOH  used  to  Hilarii  it.  It  was  encored  aiiil  sang  a  second  time,  if 
possible,  vith  biereosed  cfTecl,  when  Ihc  reelings  of  the  audience  wcra 
nabonnded  at  Its  close,  the  cheerinj^  and  applause  was  tmniease,  and  the  whole 
pit  tteod  np  WBfipg  haU  and  baadkerchiel^  We  luum  not  bow  toaffixanf 
■pedic  character  to  Mnt  'Wiuox's  tolce,  as  it  U  so  conprehenslre  m  to 
combine  the  extreme  limits  within  whiclidiliTercnl  diilinctions  arc  drawn.  Her 
soprano  tones  breathe  tlie  depth  and  riehncss  orthc  diapason ;  and  hertransiltong 
to  the  moBt  astonishing  alio  notes,  wliich  oontianc  to  rival  all  hor  loice  in  sweet- 
ness, appear  lohemade  a1mo>l  witliontan  dfort.  The  purtst  intonationallends 
oeii  hor  most  rapid  and  brilliant  diiisioiis  so  iiivariiiWy,  Ihitit  is  inipoi-iible  to 
discern  in  it  an  iniprrrcctioii  of  the  sligliiest  nature.  She  i«,  in  bhort,  a  star  of 
(he  very  first  magnitude  and  brill iaucy,  and  slaiids  decidedly  the  prime  ornament 
of  the  loral  department  of  our  stage.  In  figurp,  Mus  Wir.sos  is  ralhurtjil, 
with  nnich  grace  and  elpganre;  her  comitPHince  agrci-able  ami  pxpres(ive ; 
and  her  general  appearance  prepossessing,  and  remarkably  adapted  to  the  stage. 
It  is  scarce  necessary  to  add,  that  »ith  all  her  unparalleled  qualifications,  her 
nttraction  is  likely  to  prove  of  a,  description  unprecedented  perhaps  in  tho 
BDilern  annals  of  the  British  stage. —Jtloriim^  I'o't,  Jan.  19. 

•  That  ipleiiritd  Inminary  of  (he  musical  world,  Miss  Wil.sON,  again  at. 
tractcd  on  Saturday  oicniiig  an  audiciice,  vhich  not  only  coiiiplctelj'  filled  the 

which  was  shewn  by  the  dcbi:lunlc  vt.ii  not  so  app.iri  iil  on  thi^  occasion,  and 
she  therefore  appeared  to  still  j^eater  ;iilv,i:il;i!;i',  if  po-^ibli'.  than  she  did  in 
tliefirst  instance.  To  cnunn-rafe  Ihi- iiirs  in  iiludi  Mr^-  Wu.^oswas  ra^. 
tnrously  encored,  would  be  to  run  over  tlipcjl.ilujui'  of  ;ill  (inwi'  which  belong 
(0  the  arduous  part  she  liad  to  snsl.iin.  TIiosl-  in  ii  hii  L,  si  bi  forr,  slie  most 
enchanted  her  audieuci',  anil  in  whlrli  slip  si-i-ined  lo  sii-jimcl  iW  fMullics  of 

these,  (in  the  last  of  n  hich  she  Has  hrilliani  licyoui)  all  example, )  (he  pit  rose 
in  a  tumult  ofcxta^y,  shouting  and  waving  hats  for  some  time,  whilst  acclama- 
tions rung  from  every  part  of  the  housp.  Great  as  were  theio  testiinonhils  of 
merit,  the  pen  of  sober  Cfitici'in  rainiot  foiult-nm  (heiTi  as  orerslraineil ;  tor 
criticism  itself  is  foiled  in  attempting  (o  depict,  iu  true  colours,  tlie  rare  com- 
bination of  qaalltJes,  which  in  its  display  possesses  such  immeasurable  inQucnce 
orer  the  facultiei  tS  the  bearer.   It  reqifiras  no  great  fotesight  to  ptedlct,  that 


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368 


4RTAXEBXE8,  AT  DRDKY-LANB. 


Mub.Codtti*  were  magnitieil  into  the  mostabsurd  asEeriioDiofB  pre- 

eramencc  which,  as  it  could  bill  be  obvioiisto  those  discerning  and  ex- 
perienced persons  were  not  meriled,  could  never,  vfo  feel  persuaded, 
hnve  been  beslovreii  in  tbc  spirit  attributed  to  tbera.  That  Mrb.Sid- 
SOBS  sliould  extol  Miss  Wilson's  ncling  (wliich  is  scarcely  if  at  all 
Bbore  mcdiocril}')  at  the  ezpencc  of  nil  other  singers  is  impossible,  be- 
CBDse  it  is  inconsistent  with  the  known  prudence,  dlgnitj,  and  under- 
standing of  that  lady.  Butthcselbingt  vere  retailed  obviously  with  a 
studious  desire  to  magnify  beyond  measuic  the  talents  they  have,  we 
cunceive,  o/ily  tended  tu  degrade.  The  play'bills  were  filled  with 
exaggerated  praises  in  red  letten,  and  all  the  tuts  of  puffing,  public 
and  private^  Ttere  resorted  to.  The  deception  certaiDly  succeeded 
for  a  ttine.  Every  body  went  there  to  hear  m  perfinmer,  who  it  iru 
staled  was  nightly  received  "  with  cnlhuMastic  approbation,"  and 
an  opera,  which  continued  "  its  snccesKful  career."  All  were  eager 
to  join  even  "  on  Ihc  L'M  performance  of  Jtiajrenes,  an  audience 
more  croivdeJ,  if  possible,  than  on  any  former  occasion. "+  In 
llosetta  Miss  Wjlson  icas  announced  as  having  sustained  "  her 
high  re|Julalio]i  ;"  ami  it  wis  assumed  that  Ukc  in  a  Village  would 
"  be  as  popular  as  Arliixerxes.''  Neillier  audiences,  nor  criliosj 
nor  even  the  newspapers,  (always  excepting  The  Morning  Post}, 
boweTer  bore  out  this  assumption. 

It  might  be  thought  too  pereinplory  to  represent  the  public  judg- 
ment as  deceptions  and  inconclusive,  foi  it  is  unqnesttoBabljr  tree 
that  (at  some  time  there  was  a  rage  to  hear  Miss  Wilson,  did  not 
the  proofs  ve  bave  adduced  sufGciently  establish  that  those  public 
assertions  of  that  young  lady's  prodigious  superiority,  could  proceed 
from  no  common  principle  of  judgment,  and  must  lliereforc  be  the 

this  Lady  H  ill  li:iYc  a  iirilibnt  public  career.  Wp  can  sec,  in  antictpatko, 
many  magiiil'ici'iil  fr:isbiif  ili  lighllo  he  presented  to  us,  in  ber  appeuanoeta 
many  fjiiiuriti^  ii|Kria-.  1 1 1  in  i-loro.  It  nill  be  some  lime,  however,  befbiethe 
piililic  iiislc  M  ill  \k  valiah  d  Ijj  the  repetition  of  the  Opera  of  Ariaxtmt. — 
Tlierc  is  pcrliajw  iia  oiIlIt  in  ths  nholo  range  of  the  mwlcal  drama wbiohad- 
iiiiiM  of  so  grtai  a  putiioii  ofliut-T^ite  talent  being  enlisted  in  ill  performance. — 
Bbaimh  and  Madami;  Vr.sTUis  were  in  exrellent  Toice,  and  were  encored  Id 
many  of  their  songi ;  the  full  ripe  toiic!!i  of  the  latter  were  displayed  to  great 
adrantige,  hi  the  delightful  air  of  "  IninfuBcy  our  hypa  and  fean,"  wUdi 
«M  ehthotiMtieally  encoreil — Morning  Post,  Jan.  1% 

*  Mlas  WiMON  had  sung,  we  are  giien  lo  uadersland,  at  a  primte  COo- 
ecrt  ^Ten  by  Ha.  uid  Mrs.  Coutts. 

f  Quoted  frttn  the  Play<billi  of  the  day. 


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269 


mdtof Ad^oited |dui of ddtutoi.*  TaUnMpranoiiDdiiffmBbBlI 
tob  ocmtradlcteilt  or  bane  ont  bjr  the  opinion  of  the  nuuical  world ; 
to  thia  ordeal  we  are  well  utbfied  to  edbmit ;  for  our  object  is  tmlh, 
and  OUT  eadeBTODr,  to  place  tbe  chBraclerof  tbe  profeMors  of  liberal 
■oienoe  wbere  it  oogbt  for  the  welfare  of  science  ever  to  stand — 
vpon  tbe  bub  of  honour. 

With  lespeot  to  the  esBeolial  Tnlgarity  and  foil/  of  this  Bpeciea  of 
q^latdMry,  weneed  natm;  one  ajllable.  Ildid  itE  work  foraeeosan, 
but  lbs  pnUta,  and  particularly  the  musical  public,  conEidercd  Ihcm- 
wlvei  u  gnxd; deceived.  Upon  the  exact  measure  of  Mies  Wil- 
■oh'i  merit*  (into  which  queition  we  shall  presently  enter),  we  have 
found  Karcel;  a  ibade  of  difierence  wnongit  leall;  good  judges,  noi 
indeed  amongat  Iboee  wbo  metelf  criimate  tbe  qwuitnm  of  plewun 
Ibej  01^7.  Tbe  eBbct  compared  with  tbe  praiM  wai  coinpMelj 
unsalis factory.  Disappointment  was  universal,  and  while  tbe  de- 
ception has  been  the  object  of  univRisat  censure  and  contempt,  we 
believe  it  has  Iwen  as  generally  a  subject  of  regiet,  that  Miss  Wil- 
IOM  should  be  made  the  medus  and  perhaps  the  viclira  of  so  gross 
a  public  imposture. 

For-  Ibif  young  lad;  has  undoubledly  considerable  natural  cn< 
dow merits.  Her  Tmce  is  iweet,  and  of  sufficient  (but  not  extrnor- 
diDBT^}  comptH  or  power.t  Neither  ii  it  lemarkablc  for  peculiar 
rioluea^  nreetnDM,  or  brillianof,  tboogb  parfakii^  of  aJl  these 
qnallliei  In  a  degree  to  pmdie  macb  fiitare  excellence.  It  is  tn- 
.  deed  impossible  to  foretell  iii  one  so  young  the  precise  degree  of 
Tolumeand  quality  the  naluriil  gift  nitl  nrtivc  at  by  exercise;  for  the 
fioest  singers  have  never,  with  but  few  exceptions,  demonstrated 
tbeir  perfection  till  a  late  period  of  life.  Miis  Wilson,  however, 
paMCHCt  an  organ  of  immense  strength,  bo  far  as  constitution  b 
coDudeted,  which  is  manifested  b;  the  apparent  ease  with  which  she 
sustaim  ber  prodigious  fatigue  of  singing  through  such  a  quantity  as 

•  It  has  befii  currenlly  hta(E-il,  tlul  julv^ile  application  was  maJc  I0  all  the 
conductors  of  llic  public  I'rints  « ho  were  accessible;  and  it  is  1  curious  eon- 
brmatiaD  of  the  statement,  tbat  in  1  dispute  wbicli  the  musicians  at  Drury-laae 
lately  bad  with  tbe  ipsTiager,  money  would  not  purchase  the  admission  of  Ibdr 
DirraliTB  into  certaui  nevtspapcn,  vherein  a  h^bly  and  faliely-coloured  rela- 
tion bad  appeared. 

t  From  0  to  C,  in  all  Hxleen  notes.  Her  attempt  at  O  ii  a  mere  icream 
and  miicti  too  dat. 


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870 


AMMMUm,  «  DBUBy-LASB. 


ihe  bta  niglitly  repeated.   For  Dot  MUafied  wilh  (be  origiiul  load, 

aUJitionnI  pieces  Iibtc  been  introduced,  nut  onl;'  to  the  injury  ofltie 
singer, by  tlii; labour  impased,  but  liy  making  tiur  cfForts  loo c ilea p and 
conimon.*  The  evil  of  tliis  alrnin  upon  liie  voice  lias  even  now  been 
felt  in  ber  intunalioti.  Tiic  force  requisite  to  produce  any  ciTect  in 
Iiouscs  o(  such  evicnt  as  the  modern  tlicatres,  u  liable  al  all  limes  to 
slrulti  till;  voice,  and  correct  tune  is  sacriliced ;  Ihc  tone  idio  ia  render- 
ed coarse,  and  Itie  fine  poliEh  of  execution  abated  or  destroyed.  Mm 
WiLSDH  basalready  fallen  IntoallUuse  errors  of  eice»*  Uerin- 
tonation  u  iat  froni  perfect,  and  her  ear  bac  ellber  become  insenribla 
or  indifferent  to  dreadful  deviation*  from  the  pitch.  Al  the  clme  of 
TTie  Soldier  tir'dihe  endeavours  lo  reach  an  interval  above  her  com* 
pass,  and  she  literally  ends  in  a  scream.  \Vc  do  nut  visit  these  as  itni 
of  comraiesion  npon  Miss  Wilson.  They  ate  si ni  of  omission  in  ber 
master.  He  cannot  but  be  aware  ofthc  facta  and  of  the  consequences, 
and  his  periiiibsion  savours  but  too  strongly  of  a  disposition  to  deceive 
llic  public  at  Ihc  cxpence  of  hisscholar.  This  supposition  is  also,  we 
lament  lo  say,  supported  by  his  demeanour  nt  the  p^anu-furle.  Uis 
accompBaiment  was  precltdy  snch  as  one  would  employ,  who  meant 
to  bide  defects  from  vnlgaT  ears,  bat  such  as  not  only  to  bctiaylo 
jQUsicians  the  real  purpose,  but  to  bring  his  o»n  judgment  Into 
question.  For  where  there  isa  band,  therecan  be  no  necessity  force 
propriety  in  running  over  the  instrument  so  loudly  as  to  be  beard 
above  all  the  rest;  norwould  a  judicious  player  thjakofbammering 
through  divisions,  note  by  note,  in  unison  with  (he  voice.  This 
error  was  a  fatal  one. 

The  conceplioii  visible  in  Miss  Wilson's  singing  is  of  coarse 
confined  to  the  power  of  conveying  her  raastet's  impressions.  But 
Willi  this  branch  of  the  subject  is  mainly  connected  her  allainmenls 
in  tbeexecalivo  part  of  the  art.-  In  this  we  must  now  comprehend 
the  complete  direction  of  (one  as  applicable  lo  the  espressioa  of 
'emotions  and  passtoos  which  (be  singer  has  attained.  For  it  is  only 
by  the  Gneat  apprehenuon  of  the  niceties  and  delicacies  sounds  are 
susceptible  of,  that  we  arrive  at  thejost  application  and  employment 
of  those  cxqiLi->i(e  modifications  of  (one  wbicb  convey  the  shades  Bod 
gradiilioiij  of  sentiment.    With  this  loo  is  connected  the  docutton  of 

■  "  To  Lose  ia  a  Vittage"  three  long  and  dlfficntt  duets  ind  ■  bravnra 
were  appended— a  qnaotitj  ia  Htelf  tiffident  fw  me  n^ht's  perforniance. 


AKTAXEHXEI,  AT  MIURT-LAIIB.  271 

vocal  art  vhich,  aa  its  lowest,  yet  moil  essential  attribute  inoltula 
articnlalion.  Our  order  mtj  perbapi  to  lonw  mm  inrerted,  if  ne 
h^n  vith  the  faonltf  nliich  no  have  placed  the  but  in  tbe  catalogoB. 
JC  U  bowerer  tbe  neceuar;  coarse.  MiM  Wilsoe)  (bra,  labonn  un- 
der Ibe  o^anic  defect  of  baving  a  tongue  much  loo  laige,*  aod  the 
eflbct  ii  beatd  in  a  more  conaiderable  thickness  of  speech  (accom- 
panied bj  a  strong  lisp)  than  we  ever  remember  to  have  witnessed. 
So  vast  indeed  does  tbia  impediment  seem  to  us,  Ibat  wc  wonder  at 
lbs  boldness  which  could  Inspire  a  hope  of  overcoming  bo  important 
an  olMlacle  to  the  progress  of  a  singer  as  well  as  an  actress.— For 
the  consequence  b  not  confibed  to  mere  speech.  Evcrj'  one  at  all 
acquainted  with  tbe  act  of  producing  pure  and  agreeable  lone, 
mnit  know  that  it  consists  in  preserving,  as  near);  as  possible,  tbe 
same  artificial  conformation  of  the  organs  under  all  the  various  mo- 
difications of  pronunciation.'!'  To  Mias  Wilson's  organs  Ibis  ap- 
proximation to  identlly  of  posidun  is  impossible,  for  in  tlie  endea- 
vour to  articulate,  tlie  tongue  must  undergo  manji  changes  of  place, 
and  some  of  these  must  obstruct  and  transmute  and  vitiate  llic  lone. 
These  are  natural  embarrassments.  In  art  Miss  Wilson  h  not  only 
yel  very  far  indeed  from  the  summit  of  attainment,  but  so  low  in  our 
eslimalion  as  ought  to  have  furbidilen  lier  appearance  for  a  consi- 
derable period.  Her  riotcs  above  E  arc  freq^aentljr  produced  will)  a 
vehemence  and  coarseness  that  render  tlie  effect  ludicrous  instead 
of  grand.  Her  transitions  are  alike  violent.  The  sum  of  acquire- 
ment, when  matured,  is  tbe  result  of  long  and  close  attention  to  the 
mo^t  flnisiieii  siiigL-rs,  and  of  regular,  laborious,  incessant  practice 
and  imilaliiirt  uii  (lit  pn;t  of  the  scholar — of  careful,  minute,  andi-vcn 
wliat  migbl  be  tliouglit  liypercritical  correction  on  llie  ]jarl  of  (lie 
master;  anil  iiiUil  a  delieacy  in  taking  niul  in  leaving  nolcs,  in 
protracting,  sHtlliii^-,  decreasirg,  and  modifying  lliem  is  acquired, 
the  means  of  realizing  Ibe  ideas  of  tlic  composer  or  of  fulfilling  our 
own  conceptions  are  proportionallj  imperfect.  Inileed  in  these  In- 
stances conception  roiyr  be  said  Id  be  led  on  by  execution,  for  tbe 
mind  is  wholly  unable  to  determine  upon  tbe  degree  to  wliich  ex- 
pression may  be  carried,  until  it  has  learned  what  can  be  done  by 

■  Frodofing  Bwlliimni  balbufiem. 

■t  We  rerer  Bur  leaders  to  the  vera  comelete  eipoiitlon  of  this  hypotfaeil* 
which  baa  been  ghen  in  tbe  letten  M  Tiwotaioi,  on  the  Bementi  of  Vood 
Science,  in  our  Review. 


37S  AHTlXERXeS,  AT  t)IIDBY*LUIS. 

hoBilDg  what  Aor  fiemdonft.  Bjr  w  forlhenu  Hub Wiliom  ia  rmml 
ta  have  come  short    tfaew  ncdtendes,  bj  ao  mwA  via  it  bijiidieuMi 
(o  bibg  ber  befbre  tbe  public,  and  that  want  of  jodgmciit  WM 
mented  by  th«  challenge  giveo  to  tcnipnlous  inTestigation,  thVongh 

the  too  eager  commendations  lavished  (in  the  play  bilk,  Sec.)  upon 
one  who  can  only  be  ta<d  to  have  reached  Buroe  place  just  aboTC  the 
first  elements  of  Tocal  art. 

We  are  anare  that  the  license  of  the  Theatre  has  gone  far  towarda 
aubjcctitig  the  band  to  the  discretion  of  the  singer,  and  tbat  it  i*  now 
become  their  part  to  follow  not  to  govern.  But  Mm  WlLioa'i 
defects,  in  point  of  breaches  of  the  time,  are  ire  think  quite  iudefenn- 
ble,  and  we  cannot  loo  severely  cenaore  the  execrable  'cndenvonr  to 
pervert  the  public  taste  in  such  a  song  ss  If  o'er  the  emel  fyraU,* 
not  five  bars  of  which  were  iept'in  succession,  though  the  melody 
ii  purely  rhythmical.  This  bcauliful  air  was  moreover  inlersecled 
and  altered  by  (lie  inlroduclioii  of  a  scries  of  graces  in  the  very 
worst  possible  manner,  oUi,  Ihread-bare,  and  mis-placed.  We  do 
not  visit  tins  u[ion  Miss  Wilson;  *yc  Igtally  exempt  her  from  our 
censure — Ibc  scholar  obeyed  (he  maslcr.  Our  re m a rlts  however  go 
to  prove  that  no  pnrt  of  lier  style  wo3  such  as  la  warrant  the  absurd 
encomiums  lavished  upon  her,  and  which  must  of  course  have  ex- 
poied  her  imuatare  accomplish menls  to  an  austerity  of  jodgmcntr 
-which  they  otherwise  would  have  etoiped. 

In  (fans  exposing  the  arts  employed  to  elevate  Hist  WrLion  aa 
fat  above  her  real  rank,  we  beg  distinctly  to  have  it  understood  that 
we  intend  no  injury  to  the  young  lady  herself.  She  has  voice,  or- 
ganic strength,  and  industry.  Her  eieculion  of  pnssngcs  and  diviuoiw 
is  neal,  rapid,  and  tolerably  brilliant.  She  has  already  made  very  re- 
speelable  nllainmcnls,  and  by  perseverance  in  a  right  course  of  prac- 
tice, she  nill  we  doubt  not  rise  to  a  considerable  degree  of  eminence. 
But  while  we  beg  to  oDer  her  every  possible  encouragement  that 
trath'can  convey,  we  do  mesR  to  reprobate  and  expose  all  sorts  of 
contrivances  to  extort  an  estimation  beyond  the  joM  ftRcl  natDTal 
claims  of  talent,  as  alike  disgraceful  to  science  and  injurious  to  the 
pnblicand  the  individual.  There  is  no  royal  road  to  perfection  in 
art.  Labour  is  the  price  which  the  gods  have  ordained  mankind  to 
pay  for  excellence,  and  they  who  would  persuade  to  llic  conlrarj^  the 
ignorant  vulgar  (for,to  theignorant  vulgar  alone  such  artifices  apply) 
are  impostors. 


AUTAXF.RSE9,  AT  DSl'llV-LANE. 


We  liavecntcml  iipon  this  irksome Insk—firsf,  brt-aiisc  iij'sn  iliilj- 
we  owe  ta  the  public  at  large  to  painl  out  ivlicfcin  Iticy  hiivc  been- 
detotnAySait  U.b»portaU,i>iosl  in^mim,  Ihnt  llie  genenllaitfr 
(■bouU'  not  tw  coTraptcd  luiTing  timri  and  glilira  pniird  npon 
then  tm  storliog  value.  It  ii  a  duty  we  aire'  lor  ilin  profciaion  ta 
pruventlhat  unmnied  and  nnjualsconsion  of  crrdil  (o  one  matter, 
nbieb  u  thus  BttrWited  toward*  him  by  llic  merits  nf  a  pilpil  bdng- 
so  extravagantly  exaggernted  j  for  who  vould  for  jcnrs  puTsue  (lie 
laboriDU!,  necessftty,  and  only  right  course  of  tiutruction,  if  by  the 
subititation  of  shadowy  and  inaubilantial  acquiritioiiB,'backedbybo)d 
asserliong  of  superiority,  (h«  public  can  bo  ioduced,  to  accept  tti^ 
lalBc  for  the  true?  Thus  the  comption  of  the  general  taste  wonid 
soon  be  aided  by  Ihefraudsvrhichinattefsmii^t  find-It  {ndiipencable 
to  their  support  to  countenance,-  end  tbe  fountaini  of^clencebecoroe- 
liollnted  at  their  very  Mnircn 

Upon  tbis  genend  perverdonwe  must  also  say  alew  mrds,  ns  it 
nov  Kffecto  tbe  vrftoh  njiniiei  ofthe-'ataBD;  Tfie  magnitude,  of  onr 
theatres  has  already  prod  need  terrible  havoc  by  the  necenily^lhn* 
ereated  for  the  employment  of  force  and  of  showy  ornament  <ln  Ibii ; 
piiillciikr  the  progress  of  vocal  art  also  coinciilcs)  in  Ike  place  of  - 
pure  tone,  natural  expression,  and  high  finishing.  At  the  commence- 
ment of  Ihc  present  age  the  appearance  of  Mn.  UnAHAU,  a  man 
gifted  with  tnoal  wonderful  powers,  may  be  i^iid  to  hare  given  rise 
to  a  new  school  of  sinking,  llct  who  could  once  laugh  to  scorn  the 
embarraiismcnls  which  the  ingenuity  of  a  most  imsgioatire  com- 
poKT  tfarcw  ill  the  way  of  bi»  exeontioo,  baa  now  for  boim  pe> 
Tied  ef  time  been  the  martyr  of  over-stimtdaleA  and  ovt^«zerted' 
fiiculties.  It  is,aboul  twenty-five  years  since  be  first  oame  out  in 
JtfaJimoud.  Nothing  could  then  be  more  astonishing,  more  perfect, 
than  his  dramatic  style ;  but  bis  'voice  has  become  coarse— his 
style  coarser.  His  execution  has  now  nothing— absolutely  nothing — 
of  its  former  sovereignly.  His  passages  reach  no  lowerthao  the 
mouth.  All  deep.sealed  atticnlation  is  no  more.  What  he  now 
does,  any  body  with  a  voice  of  power  might  do.  Yet  he  is  still  Mb. 
Bbaham,  and  his  authority  corrupts  an  empire.  To  this  professor's 
talents  Me  pay  all  possible  homage.  We  admit  that  they  nerc  once 
superior  probably  to  those  of  any  singer  that  ever  appeared.  But 
(he  habitual  coarseness  of  stage  singing  and  Uie  coming  on  of  age, 
havflicndeied  liu  vuce  brassy  and  nedj  and  nasal  by  tnnuikare 

TOIu  III.  HO.  Z.  ID 


AKTAXBBXES,  AT  DBUSY-Iu^NE. 


unpaind  his  execidion,  and  pon&iy  depiaved  liii  Mfamll;  fine 
tute.  Tliose  defiote,  vhioh  (thongb  alffars  specks)  were  bit  at 
tpeclcB  upon  tbe  snow,  are  grown  into  large  and  intolerable  defor- 
mities, and  for  tbe  sake  of  (he  rising  generalian  of  siogers  and  Itw 
general  taale  of  the  cooDtr; ,  it  is  lime  he  eliould  be  plainly  told  the 
truth.  Mb.  Bhaiiah  has  enjoyed  all  that  the  most  brilliant  sun* 
shine  of  the  longest  approbation  can  confer,  lie  is  full  of  honours. 
Wc  respect  his  talents,  wc  rererc  bis  fame,  and  we  would  hove  this 
great  light  set  as  brightly,  a»  magnificenllj'  brilliant  as  it  iixe.  We 
mnld  bave  such  a  man  feel  and  say — 

"  Mine  be  (be  eve  of  tropic  sua  I 
No  pale  gradations  quench  bis  ny. 
No  tirilight  dews  his  math  bHb;  i 
VUi  disk  like  battle  taiget  nd, 
He  roahe*  to  hia  bniaing  bed. 
Dyes  the  vide  wan  with  bloody  light, 
Then  rinki  at  OBce  and  a|t  i»  nigbi."" 


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ENCOUKAGEMENT  OF  ENGLISH  MUSICAL  TALENT. 


tbaa^  we  trt  tai 


DDI  fair];  win,  nlber  Iku  •upecl  that  Aej 
Battomil  pnjadlce.  He  who  casnol  Urink  M 
"  mer  brace  Ut  Dbd  u  tbe  eneigi  that 
oDUr.  -WebaTaaiioiighof  «</«qplo 


 Jk  loWetlefeB  ._. 

m  onpriiii."— Qwrfer^  Hiulcd  Jb(n£i(,  iwl.  //.  p.  990. 


  ^  ave  pride  and  jjeaanre  ia  leniac 

coanlnmen  arrive  il  and  cajoy.  Lcl  Ibe  naUe  cgcauaHmcDl  Epflaiid 
di  u      oadTCi  gfotber  eouaiileabe  tlM  tiiU>cl«fenalatlan,Dolorein]r, 


TO  THE  EDITOR. 

5ik 

X  BATE  taken  for  a  motto  lonie  of  jout  own  MntimentB,  with  irbich 
1  cordially  agtce.  The  rough  elock  of  our  native  ability  own  It* 
principal  improTemend  to  tbe  graftings  of  foreign  geniui.  WehBTe 
been  and  still  continue  to  be  advanced  and  excited  by  (lie  competi- 
tion wilb  natiooi  more  ninicil  than  ne  are,  eilber  by  coutiliitiDn 
or  by  batrit ;  and  vrbatever  approacbet  vre  may  have  made  to  their 
■tate  of  ezallation,  arc  to  be  tiaced  to  tbe  e^iample  they  have  ^ven 
and  the  effort  they  have  inspired.  So  far  so  good.  The  foreigner 
hat  deserved  his  meed,  and  I  am  not  llie  man  to  withhold  il. 

But,  Sir,  let  us  be  just  to  our  countrymen,  and  let  us  not  in  airild 
spirit  of  boundless  liberality  depress  instead  of  foster  their  ability — 
ft  danger  which,  I  think,  vie  are  now  actually  incurring.  For  look 
at  oor  Italiaa  Theatre  1  The  Opera  concenlTates  the  patronage  of 
the  NobUi^  and  tbe  great,  while  the  amawmenls  of  the  Engliih 
Tbeatie  devolvo  to  hombler  claatei.  Look  at  onr  concert  bUls  I — 
They  exhibit  in^  a  preponderance  of  foreign  music,  and  mob  a 
Hrt  of  Italian  ringers,  n  almori  tbiuit  poor  England  aude.  Our 
Ter7«ntariiM  an  roatunedby  Moxart's  andRoiiiiii't  f^eiai,  bj 
tob.  III.  MO,  ^t.  o  a 


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S76       EHGOUIUaEMBfT  OF  VfOUSH  MUglClI.  TALUiT. 

masses  sad  moletls  end  battle  smibnini,  to  say  nothing  of  Signon 
and  SigDoras.  If  wc  examine  the  malcrials  of  privntc  concerts  m 
London,  vvt  bliall  ah„.  I  leiir.  iiiid  (l]a[  I'lii-li,!]  liil.'iit  h  ri.'rirlv 
eicluiled,  and  lhat  llio  Liiyliili  pruli-ssioii  i',  iiiM;u(ir;ii;t:ii,  [xuici- 
pallj  because^,  as  tl  is  said,  Itnlian  perluiiucr^  otc  cuiiltnl  to  iicccpt 
invilatioiis  En  the  bopeof  patroiiage  ^tbcir  bejitliis,  while  our  naiiTe 
nngeis  expect  the  rewaid  vbicb  i*  to  be  the  su|)purt  uf  tlieir  exist- 
ence. In  tbne  time*  of  conjoint  eztiaragance  and  economy,  nrhea 
the  niidne  study  of  tfae  tut  U  almott  indiapensible  to  the  laviih 
HidulgencB  of  the  first,  such  a  Tcwnice  may  aflbid  a  plmiiMe  ituoo 
foj  the  preference  so  obvious  among  poor  rich  peoplo  vho  give 
music.  But  upon  almost  every  other  ground  the  propriety  may 
admit  of  some  questiuti.    Let  us  cxRmine  a  little  into  the  facts. 

We  cannot  coJiscnt  to  go  back — we  must  lake  the  tiote  as  it  it. 
We  have  had  our  Porcell,  our  Handei,,  and  our  Abnb,  if  the 
Continent  has  possessed  her  Palestrina,  her  Havdn,  and  her 
MozAnT.  The  question  is  not  what  has  been,  but  what  is  now  the 
companitire  stale  of  Foreign  and  English  talent.  And  to  thi» 
enquiry  the  cacotiragemntt  teem  la  be  ft  pFeUminary  teqoitite  for 
GOnnderation. 

]?he  nmsicftl  genius  of  foreign  countnes—Italy,  Germany,  and 
France  especially — is  nurtured  by  public  education,  and  alwve,  all 
by  that  universal  national  love  of  the  science vrbich  England  has  not 
arrived  at.  The  encouragement  aObrded  by  our  countrymen  is 
very  raiicli  confined  to  tlie  pecuniary  rewards. — In  foreign  countries 
it  is  o(licr\iise.  .Miisic  is  tbcrc  powerfully  and  rapidly  impelled 
alarig  bj  public  feeling  :  it  affords  an  object  fur  study,  a  subject  for 
conversation,  the  matter  for  public  amusement  and  domestic  society 
and  solace,  and  highly-cultivated  geniui  i*  at  once  toia  to  coi|cili<4« 
general  and  individual  admiralion  and  leipect.  Tlie  geuu»  oC  tliq 
boy  is  not  only  trained  by  education,  bat  his  scieice  u  mutmed  by 
continual  opportonitics  of  hearing  at  all  hours  of  the  day  good 
practical  examples.  A  fine  composer  enjoys  a  sort  of  tiiumpha) 
progress  from  city  to  city :  he  is  engaged  to  write  for  their  thealrci, 
ami  is  lU'sliiied  to  receive  the  largest  honours  that  talent  can  altain 
i\\  the  np|ilEiiii-ea  of  interested  multitudes,  in  various  places  and  at 
various  puints  of  time.  The  great  singer  or  player  partake*  of  the 
same  cheering  inspiration.  Ought  it  then  to  be  any  matter  of  nODn 
der,  that  the  fncnltiei  of  m(au.filiiiuilq((4sb4id4-n4*-t9'Vw.'>V^**^ 


mCOUSAeiHEHT  OV  SKeUSB  MUSICAL  TILBNT.  377 


d^ree  of  attainment  Aiid  excellence?  .Nor  Is  tlib  all.  Reputation 
at  borne  is  sure  lo  draw  after  it  reputslion  abroad.  In  England  we 
are  accustomed  lo  searcli  out  Ibe  ability  moit  higblj''  and  generalljr 
Bchnonledged  abrond,  nnd  lo  }'icld  it  Ibe  lofliest  place  and  prec«> 
dencj  omonget  ourscUci. 

Now  what  advanfage-  1i;ut'  liic  J■:lnrli^il  miniciiiri  ciijciyed  lo  com- 
pensale  lliose  indulgi-d  1..  die  -ci-idM;  ui  llio  imliislrioiLs 

Guman,  to  »ay  nolliiiig  ol  cujitliLuliuiial  lumpcramcnt,  wbicli  lias 
alwaja  been  supposed  lo  give  to  the  native  of  Ilie  pure  and  bnllianl 
cliinate  of  Jialjr  especially,  a  natural  superiority?  Alasl  few  ai 
none.  He  most  toil  to  fais  knowledge  and  lils  acfguisitions  tbrougb 
a  nntineas  common  as  llie  drudgery  ufany  mechanical  trailc;  he  is 
the  pupil  of  RO  coneervnliiry,  where  intellect  is  sharpened  by  colli- 
slOD  and  matured  by  perpetual  iiilcrcour»c  n  ilh  l  uiinencc  and  enter- 
prise, vith  matters  and  scholars  engaged  in  tbe  same  pursuit — he  is 
never  eummoued  lo  a  daily  ur  almost  hourly  rehearsal  of  his  own  or 
his  fellow  students  compositions — Lc  bears  a  public  concert  but  sel- 
dom, and  that  with  difficulty,  but  be  must  labour  for  yrars  by  liim- 
sclf  and  for  himself  and  to  binuelf.  Evta  bu  master  is  but  too  fre- 
quently and  so  continually  more  profitably  engaged  as  to  be  denied 
tbe  power  of  aiding  him  so  much  as  both  inclination  and  duly  might 

If  Ihen  1VC  being  the  progress  oar  native  mujicians  have  mode  into 
comparision  with  foreigners  during  the  existing  generation,  and  take 
ipto  account  llie  cumparativu  disadvanlages,  llie  balance  may  by 
some  be  thought  vol  unreu:un»bly  (o  incline  to  our  icalc.  If  we 
take  tlie  bighi'it  species  of  comjiDsition,  whKre  has  the  C'unlincnt  an 
oratorio  (the  production  of  Ihis  age)  like  Palestine  !  If  we  dc- 
■oend  to  vocal  chamber  music,  nc  arc  probably  below  our  compe- 
lilon  in  duels,  but  our  glees  exceed  any  thing  ne  are  acquainted 
with  toong  the  concerted  pieces  of  foreign  nations  in  the  same 
naBOCT  ef  petformance.  Thus  then  our  Cboich,  our  CaLLoott, 
.and  ogr  UoBaiiBv,  may  take  Tank  with  any  names  now  in  existence. 

In  the  oppn  we  must  admit  their  superiority,  though  perhaps  this 
il  rather  to  be  attributed  to  the  very  low  slate  of  our  musical  drama 
than  to  tbe  genius  of  our  composers.  Mr.  Bishop  basexiiibilcd  trails 
of  fine  parts,  and  taking  into  view  the  limitations  wbicb  cabin  and 
confine  the  composer  for  an  English  theatre,  I  am  not  disposed  to 
yield  any  very  nutmnout  predominance  (o  (he  poweis  of  RostiHi-^ 
oo2 


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273     ENtounACEKEXT  OF  ehguih  huiicai.  tkjxn. 


(be  present  greatest  if  not  the  only  boBst  of  Italy :  for  in  ihia  iiUtBDCf 
hon  large  miut  be  the  sct-olF  for  (he  imperfect  Ion  of  obt  open  and 
the  low  degree  of  encouragement ! 

In  composiliona  for  instrumentB,  we  must  again  admit  our  defici- 
ency. We  can  be  said  lo  Lave  no  Bymphonist  (for  we  cannot  -laim 
CLEsiE?<ri)  nut  bcatti  iy  a  ntiler  of  quartctis.  Some  of  our  con- 
certo pInyiTS  an:  iiiJi'cd  in  tlic  habit  of  producing  pieces  suiled  lo 
the  display  of  Itidtowii  Eitylc  and  acquirements,  but  icaicely  one  has 
yet  been  knonn  in  a  printed  form,  except  for  the  common  initni- 
mentt  in  daily  domestic  use.  Ami  in  tbis  department,  perhapt,  if  il 
a  curious  fact,  (hat  the  productions  of  foreign  living  writera  for  the 
piano  foric  ivhich  reach  us,  are  few  and  almost  undislinf^uished.  To 
re&ident  foreigners  we  indeed  owe  great  obligation!;  bnt  if  ire  except 
Ci.EMENTi,*  who  stands  as  the  discoverer  of  modern  ezecalion,  our 
Cramzb.  will  probably  be  aliened  as  elevated  a  ttation  as  belongs 
to  any  foreign  composer  for  his  instrDment. 

Upon  these  examples,  then,  I  Kit,  aod  my  Tenlure  my  Mitt, 
that  Ibey  afibrd  safficient  proof  that  Engluh  ganlos,  If  cherlilied  willi 
equal  solicitndeand  trained  with  similar  advantage*,  would  be  likely 
to  compete  auccessfullj  with  the  best  foreign  ntiiridun. 

If,  Sir,  we  act  abont  examining  into  tbe  intriiuic  canm  wbicfe  at- 
tract oar  coandyinen  too  stnmgly  towards  foreign  mmic,  tbe  prin* 
cipte  will,  I  think,  be  found  where  yon  have  pbiloMpblcally  placed 
it :  in  (he  deure  of  the  present  age  to  enjoy  intente  votuptuom  icnra- 
tiani,  rather  than  to  interest  tbe  sublime  afiectiont,  which  was  the 
characteristic  of  the  time  of  Hakkbl,  oi  perhaps  of  ihe  twenty  or 
thirty  years  succeeding  hisdeath;  for  even  bo  had  great  difficulty  in 
maintaining  the  popularity  of  his  grander  compositioDs.  Bnt  so  far 
asroeremnMcis  concerned,  the  foreign  school  which  ii  now  in  vogn^ 
Hatdit,  Mozart,  Berthoten,  and  Bonini,  is  the  school  of 
melody  and  gracefnliwss;  and  so  far  as  bdongi  to  the  two  last,  of 
extravagance  and  of  gmt  vivactly.  Elevation  and  dignl^,  vhick 
were  tbe  ^racteristics  of  Hamdbl  and  Pvkcklk,  the  two  raasten 
whom  our  amateurs  nne  but  too  apt  to  bring  alone  to  combat  with 
these  modern  giants,  are  but  too  often  above  the  level  of  every  day 

*  This  composer  recciTcd  his  musical  education  in  Rome,  bat  he  cane  to 
fliil  country  at  the  K^eol  14.  Like  I1aj(dei.,  heiniy  tbcTsfnce  tie  said  ta  hkre 
been  o^inliied  here,  and  to  have  fanned  his  nutnrertistei  In  &igUnd,  where 
Iw  Inn  ondoabtedly  Kcqolred  tbe  gieater  psrt  of  Us      IHuary  UI*h>B*nti> 


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ENCODHAGEMENT  OF  ENfitlSH  UmiCAL  TALKMT.'  879 


feelings,  and  are  liable  ta  be  Toled  dull.  Their  melodies  vsnt  tbe 
animal  »^rit  vith  wbioh  ftoBini  eajwcialty  aboanda,  and  so  indeed 
do  most  of  tbe  worki  of  oor  modem  vTitera.  Neither  CaoroH  nor 
HoRtLGT  can  relax  from  ibeirttate,  from  (heir  cfiasie  and  ciMsical 
but  SDBlere  style  of  writing;  and  (he  elesance  of  Bimiop  lacks  the 
vrarmlh  and  capfivalion  Ihnt  liurry  us  Blong  in  Rossini  ;  to  whom, 
by  the  wny,  I  profess  no  pnrliciilar  imrliniily ;  fur  no  music  wai  e»er 
distingu lulled  by  less  ol  clinracler  and  more  of  mete  mannerism  than 
hit.  A  German  critic  lias  said  ol  it  truly  ciioiigl),  that  it  is  impossi- 
ble (oconjecture  from  hearing  Iiis  songa  wlictlicr  tlicy  arc  sung  by  a 
'  man  or  a  master,  a  tyrant  or  a  slave,  a  monarch  or  a  subject. 

From  composition,  our  aeztitep  to  execution,  and  here  I  Imagine 
we  do  not  stand  upon  lower  ground.  On  the  contiarf,  I  tbinlil. 
may  go  near  to  prove  ire  ralber  exceed  tbe  nations  opposed  to  ni. 
The  Continent  has  yet  sent  us  nu  pianoforte  player  superior  lo  Cra' 
KER,  no  violinist  above  Mom,  not  a  single  competitor  for  our  ad- 
mirable LinnbET,  no  oboe  to  vie  wilh  Grigsbach,  no  bassoon  witb 
poor  HoLMBS  or  Mackintosh,  no  flute  to  siLrpass  Nicholsos — 
Dbodbt  perhaps  exceeded  him  in  some  and  full  below  him  in  other 
respccls.  Their  borns  have  of  late  beat  ours,  fur  Fuzzi  is  a  very  ex- 
traordinary man,  but  Habfbr  as  a  trampet  is  not  c:icceded.  Our 
condaolora,  Mr.  Grbatorbx,  Sir  Geo.  Smart,  Sec.  Ax.  are  men 
oferoinentKiencc;  our  WaiiiBT  DnriTalled  BtanorgMiat,iriK  may 
not  eateero  the  bighly  scientific  and  elegant  Notbllo  as  one  of  us, 
vbicb  my  non-acquaintance  with  him  does  not  permit  me  to  know. 

Onraingersarc  alike  pre-eminent.  Mas.  Billi nqton  and  Cata- 
IiANi  are  now  hors  de  combat.  Where  then  has  Mrs.  Salmon  been 
over-matched,  where  Miss  Stbphgni,  taking  Into  consideration 
their  approximation  in  singing  Italian  to  the  natives  of  that  country, 
and  conpling  ttwilh  their  English  style?  Where  can  Bn,MiA>i  and 
Vadghan  be  paralleled?  Where  Wu.  Knttktt  and  Evans? 
Here  perhaps  we  mast  stop)  fin  villi  Bartlbm ah  the  race  of  ban 
singers  seems  to  be  extinct.  But  I  have  nid  enough  to  show  (hat 
therp  is  nothing  to  warrant  that  extraordinary  preference  which 
It  is  witb  some  shew  of  justice  alleilged,  our  public,  and  the  higher 
ranks  especially,  are  disposed  to  shew  towards  foreign  music  and 
fbreign  profesiori. 

I  ^all  however  not  iGmple  to  bring  into  disctutioa  (be  conduct  of 
DU  own  ransidBos,  and  while  I  npplaiid  iheit'  deliGac;  and  their 


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S90.      Eilfl«QB46EltBlfT  OF 


Meucii.  uunn. 


libenlUy,  iliall  ventare  to  qneitioii  thdr  ducietion  in  Tolnnbming 

(he  exlravagant  patronage  they  do  to  foreign  inaaic.  If  nelook,  a* 
I  saiU  before,  at  ibe  concert  bills,  public  and  private,  llnlian  predo- 
minalci.  I  Imve  been  at  tome  concerts  where  not  aline  of  EnglUh  has 
been  Sling.  Non,  instead  of  considering  thiscxccsg  as  generous,  1  con- 
Eider  it  as  ungenerous.  Instead  of  viewing  it  as  liberal  to  strangers, 
I  deem  it  illiberal  lo  native  talent.  Profefisora  enjoy  tbe  [lower  of 
ino<telling  the  public  taslc,  and  I  say  English  ability  (hoald  be  in-' 
cited  lo  produce.  If  you  can  g«  back  IoH^tsv  and  Mosabi,  you 
nay  go  back  (oPubobu.,  Handel,  and  Abitb — if,  as  you  ipnit,  yon 
desire  modern  ari,you  haveWEBBB,CALi.coTT,CaoTOH,BoaRLBy, 
Kmttstt,  BliHOP,  &c.  &c.  If  their  works  do  not  afibrd  a  suffici- 
ency  of  noTclty  or  excellence,  encourage  llicm  or  encourage  others 
— there  is  plenty  of  rising  musicians.    It  is  become  iieccetary. 

If  however  we  would  make  Kngland  a  musical  nation,  tre  most 
adopt  the  method  of  Ihe  Continent — ne  must  engraft  it  upon  our 
plans  of  public  education.  And  why  not?  why  should  not  Ihe 
industrious  classes  be  trained  to  the  beneficial  exercise  of  as 
accomplisbnient  nhioh  vonld  wean  them  from  (be  yices  of  thdr 
■tMioO)  soften  thdr  mannen,  uid  imjHove  Uieii  monli.  A  fiuBi^y 
concert,  however  humble,  would  afford  *  far  better  solace  than  the 
riot  of  the  ale-house  or  the  boisterous  entertaintneot*  of  Ihe  (kit* 
tie  ground,  nliicli  it  would  soon  supersede.  Look  at  wh&t  Ma. 
Oven  bas  done  at  JN'uw  Lanark  in  his  wise,  humane,  and  admirablB 
institution.  He  has  practically  sliewn  wiiat  may  be  eSbcted  in 
music  by  tbe  poor.  If  I  were  asked  what  has  made  Italy  and  Ger> 
many  musical  nations,  I  should  reply,  Ibe  understanding  and  tuition, 
which  are  always  demanded  as  a  quali5cation  to  tlw  situation  of  tbe 
lowest  parish  scbDolmaster.  This  is  the  foundation  of  all,  and  (iH 
somelhing  of  Ihe  kind  be  adopted  En  England,  the  Snglisli  iiill 
never  be  t,  musical  people.  In  a  former  number  of  your  Rerieir*  I 
endeavonred  to  awaken  (he  attention  of  tbe  profewfam  to  Ibe  beneSte 
dmt  would  accrue  bom  a  musical  college  for  ths  education  of  pn^ 
feUotB.  I  have  Binco  conversed  with  many  of  eminence  npMi  this 
point,  and  the  only  objection  I  have  beard  is  (he  danger  of  ddnging 
Ihc  country  with  musiciang,  as  tbey  aver  lo  be  (he  case  in  France- 
Uut  this  cvU  might  catily  be  gnuded  against  by  a  duo  limitatiui  of 

•  Yd  1,  p.  3&2. 


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nC9VIU^SHEKT  «F  ENGLISH  MVSICKI.  TA.LENT.  281 


the  nambtn  of  Ibe  pi^uls,  oi  would  probabljr  regulate  iteelf,  m  (ap- 
ply it  found  to  accord  niih  demand.  Some  esUblidmitnt  trf*  ths 
bind  u  certainlT  waDted^ 

Nexl,  toeDCouiageEi^IUIi  profeiaon— Ihe  example  of  Tub  Kme 
11  rpost  dediable,  and  it  is  nn  objecl,  to  which  I  have  good  leason  to 
believe,  bis  Mnjivly  serinuslj'  inclines.  It  woidd  well  become  some  of 
ouremineiit  muaioians  to  cnCrcnl  the  King's  ear'lu  a  just  rcpresenla- 
tion  of  the  beuefiU  that  might  accrue  to  English  art  from  his  decided 
couDtenance.  At  pieKnt  we  seldom  heat  oflilDglifh  professors  being 
Gommanded  lo  hit  Uiyetlj'a  partiei.  A  becoming  lepresenlation 
would,  «e  bave  the  ttnuigcit  leason  to  (faiuk,  produce  the  deairable 
change^ 

The  Noble  tHraotmof  the  Copcot  of  AjtUeatMaucBrapediapr 
at  the  head  of  the  Inttitulion  which  teudtmott  eSecluallyto  heep 
alive  the  memorj  of  sound  Englitb  style.  Sorely  nothiog  would  be 
more  likeljr  to  asiist  tlie  pretest  of  English  composers  than  a  per- 
mission to  be  present  at  these  admirable  concerts,  cstended  to  a  few 
nuIcT  (he  discreet  limitation  of  the  Directors.  At  preseut  the;  arc 
abtolulet)' inaccessible,  and  we  know  scarcely,  a  conpocei  who  wai 
erai  present  at  (hem.  fhc  addition  of  a  dozen  peneni  (o  the  andv 
,<loce  voald  be  of  no  moment,  bu(  a  do^n  iniilations  ipontaneontljr 
ditUibnted  b]  the  Dincton  to  men  who  h^ve  distii^uiibed  theniMlvtp 
conpotiiioOf  would  be  felt  aa  a  ooaiplimeiit  with  siitving.fiu, 
and  what  yi^.  think  infinilelj  more  imporliuit,  they  would  confer  the 
power  of  hearing  effects  Ivhich  are  not  to  be  heard  oulaflhe  Anlieot 
Conceit.  The  Directors  have  thus  a  means  higlily  gratifying  lo  men 
of  talent,  of  rendering  science  an  essential  service,  nnd  at  the  same 
lime  of  giving  an  example  of  that  searching  and  comprehensive  love 
of  art  and  of  country,  that  is  eager  to  extend  to  the  ulnwst  the  circle 
of  the  blessings  it  knows  so  well  how  to  value  and  enjoy. 

I  would  next  tecommcDd  to  the  Gonsideralion  of  the  profession, 
the  ettablithment  of  Ah  Endliih  Cohcbbt  upon  a  great  and  good 
icale,  for  the  perfonmnce  of  (to  bcrt  EngUth  mtuic  and  the  eucou- 
ragemen(  of  living  composer^  orouTinitrumralalliti,  and  onr  singers. 
I  should  hope  the  pailicular  patronage  of  tlie  Sovereign  and  of  dis- 
(inguisUed  nobility  would  not  be  necaswy  to  such  an  attempt  lo 
(wncenlrate  and  fix  the  regard  of  national  taste  upon  native  aliilily, 
but  in  any  event  I  am  sure  such  snpport  jvould  not  be  withheld. 
The  csperimnitii,  1  Ihmk,  at  all  crcMs  voitb  making. 


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.t8i       EHCOOBAOXMIItT  OP  SNSMtH  UVIICAL  TILENT. 

I  tboiild  certaini;  abo  join  wHh  the  Correspondent  in  youi  lut 
'  Number,  vho,  tiiider  (he  gignetim  oS  "  Cohko:<  Semie,"  advoatci 
tbe  nttempt  to  infrodooe  >  better  ityle  of  opera.  Tbe  tbeatie  it  the 

vehicle  education)  most  adapted  to  propagate  tbe  public  iove 
of  art ;  and  it  is  lomenlable  to  perceive  at  how  low  an  ebb  Imlh  its 
principles  and  its  practice  at  present  stand. 

I  have  thus.  Sir,  cndearourcd  to  draw  attention  first  (o  tbe  inflqcnce 
foreign  miisic  ia  gradually  gaining  in  this  country,  and  vhich 
threatens  the  almost  total  oblivion  and  expulsion  of  English- compo- 
silion ;  Sdly.  I  have  pointed  out  the  iiaiiiiBl,  wholesome  vigour  of 
English  genius,  even  under  all  the  opposing  superiority  of  excito- 
ment  against  which  it  has  to  slmgg^o  from  abroad,  and  tbe  cold 
countenance  it  meets  at  home ;  and  lastly,  1  have  rentured  to  ■o^gol 
some  of  tbe  easiest  means  of  aflbrdingEMConnAOBiiBNT  to  Enblisk 
MUSICAL  TALENT,  fielievc  me,  Sir,  enchan  exposition  is  becoming 
CTery  day  more  necessary.  1  have  done  -what  I  can,  not  wbnl  I 
would.  And  while  I  admire  and  applaud  thnt  generous  exertion  of 
cosmopolitan  libcralily,  which  wc  every  wbere  witness  in  the  iotro- 
duclion  of  foreign  music,  I  have  yet  Bngllsbman  enough  about  me 
to  wish — aye,  "  from  my  heart's  core— from  my  heart  of  heart,"  tbat 
we  should  earnestly  and  warmly  cherish  the  desire  to  see  oar  own 
countrymen  Bs  eminent  in  art  as  in  arma ;  and  that  wa  should  eagerly 
adopt  every  poiritdB  means  of  laising  .to  ■  perradiag  flame  that 
**  spark  divine"  wbicb  ii  the  gmt  firstcause  of  all  eirilization,  ud 
tberelbre  of  all  inteBectual  bapirineis. 

I  am.  Sir, 

Yuur'i,  faithfully, 

VETUS. 

Xt,  1811. 


TO  THE  EDITOR. 


6i>, 

^SToDK  hsl  Number  contains  an  article  on  Musical  Proprictoraliip, 
as  far  as  regards  national  airs,  in  frhich  T.  C>  C.  has  selected  lha 
cases  of  Messei.  Davi  and  Walkbb  in  favor  of  liis  aTgiiinentg; 
but  as  Uie  former  gentlemnn  haa,  in  my  opinion,  been  rather  too 
■erereljr  bandied,  it  shall  be  my  aim  lo  draw  llie  line  of  di^linclion 
between  these  two  cases, by  shewini;  (hat  Mb.  W'alkku  mirlt'^all  the 
censure  that  has  Ixen  cast  upon  him,  but  tli.-it  .Mn.  Daw  dues  not. 

I  wish  if  then  to  be  understood  that  I  am  friendly  to  the  protec- 
tion of  musical  proprietonhip,  and  consider  with  Sia  Jdhh  Sibtbr- 
soH  that  wc  should  be  in  a  bad  state  if  it  were  Mt  nspecled;  i)ot 
there  are  limits,  and  I  would  not  have  an  editor  or  a  {Hiblisber  be  too 
captions  about  a  description  of  propertj  built  upon  common  right, 
where  it  is  so  difficult  lo  Sx  the  exact  point  of  exclusive  claim.  To 
mc  it  nppcars  that  there  can  be  no  injury  iloue  in  respect  to  uational 
airR,  excpjit  iu  eases  ii'/cYc  l/ir  srcoiid  piibliealian  is  intended  lo  rrsembU 
tfiF  firsI,  =i>  Uiat//i,'  m,i- mm;  he  hiughl  or  so /d for  Ike  olhtT,  as  ia  the 
est:  of  Walki:!!,  hIiu  riot  only  lank  the  iaiae  airs  as  Me.  Mooee, 
but  absolutely  tbc  title  and  Hist  line  of  the  words,  and  the  one  was 
M)  completely  an  imitation  of  the  other,  that  a  Gomnioii  obcerrei  in 
purchasing  Ifae  printed  copy  might  have  believed  he  had  got  the 
original - 

Now  bow  slatids  the  case  with  letpectlo  Hb*  DAVT,whobaifaeen 
attacked  in  one  of  your  fonaertiDmbeia  as  weH  as  by  your  coTrespon> 
dent,  for  baring  set  words,  beginnbg,"7«  ni^biwtieB/[nMt"  to  an 
Indian  melody  already  set  and  published  by  Mr.  Hooeb,  to  other 
words,  "All  that's  bright;"  tin-  tUlcs  of  wliicb  nl  least  are  very  dif- 
ferent ;  bnt  in  order  lo  prove  whether  iir  not  there  be  any  similarity 
in  the  subject,  Ibe  poetry  of  both  is  subjoined : 

All  that's  bright  must  fade, 
.     .  ,  The  brightest  sliU  (he  fleetest; 

All  that's  snreet  was  mads 
But  to  be  lost  when  iweeteit, 

TOL.  UI.  HO.  XI,  p  p 


Digilized  by  Googfe 


ON  mincAL  VBonueroBiBiP. 


Stan  that  shioeaiid  fUl, 

Tbeflow'rUiktdiopaiD  ipriiigiiig; 
ThMCiBltwl  are  types  of  all 

To  which  our  hearts  ftre  cluiglDg* 

Wlio  would  seek  ar  prize 

Dcliglits  that  end  ia  aching;. 
Who  would  trust  lo  lies 

TliBt  er*i7  hooiare  biea&iiig. 
'  Betlerfiittabe 

la  utter  dufcnenljring, 
Thiui  be  blest  with  1^  and  we 

That  light  foe  ever  fiying. 


Is  my  lore  then  flown, 

That  love  I  thought  sinceiest; 
Art  tboH  iailhlcss  grown 

lo  him  who  lo*'d  Uiee  dearest. 
Tes,  no  more  I  see 

Thine  eyea  in  beami  aTsspailcliDg; 
Looks  which  once  shed  joy  o'er  toe. 

Arc  now  both  cold  and  darkling. 

Yet  an  hour  will  come 

When  all  Ihj  charms  so  blooming;, 
Like  flowers  on  a  tomb, 

Chill  time  will  be  consuming  I 
Then  thou'lt  tbink  of  liim 

Bcljnj*'d  ivith  hopes  deceiving; 
And  a  tear  ))erlmp3  niny  dim 

Thine  eyes  for  mc  while  gtieringl 

And  now  1  would  ask  if  it  be  possible  for  any  one  (o  be  so  deceived 

as  to  hare  the  one  passed  off  lo  hint  far  the  others  and  if  this  is  not 
practicable,  I  would  also  ask  where  is  the  injury  to  Ms..  Mookb  or 
bis  publishers? 

Tod  have,  Mr.  Edilor,  pnt  the  case  home  by  asking  whether  Hb> 
Davt  bad  taken  this  sQbject  pievioosly  to  Mb.  Hoohk's  puUiea- 


Digiiized  by  Google 


Oir  WPStCAL  VHOPMBIORBBIP. 


lim,  or  vhetbn-  bs  had  not  ta&en  advantage  of  it  thntigh'  tbe  popu-' 
larllj  acquired  by  Mn.  Moore's  troTds?  This  !  cannot  answer,  but 
eren  suiiposing  the  latter  to  be  the  case,  as  he  does  not  seem  to  hnTe 
taken  a  single  idea  from  the  other,  nre  we  tu  beloUl,  and  hnvc  it  laid 
down  as  a  lulc,  that  because  Ma.  MooRBselectsDalionalairg  to  write 
poetry  to,  tliat  n  seal  ie  thenby  set  on  them,  and  Uiat  any  man  whn 
dares  to  take  one  of  the  tame  aire  lo  trrite  atier  awds  to,  it  to  be  de- 
signated as  a  pirate  i * 

I  admire  as  much  at  any  one  can,  the  beaa^  of  the  words  set 
totkfi  Iiith  Hdodiet,  and  Mr.  M.'b  patriotism  in  haviiig  collected 
"UMia  wild  mountain  airs  and  snatcbed'  them  from  the  vulgar 
moalbV  te  give  tiiEm  n  place  on  Die  piano  forte,  as  well  as  iii  tbe 
Ubnljr  of  the  musician  and  the  innn  of  literature.  But  can  it 
be  said  tbal  it  is  patriotism,  or  any  thing  short  of  "money  get- 
ting," that  has  since  induced  Mn,  Moose  to  write  words  to  Uie 
airs  of  Spain,  Portugal,  Italy,  Tratice,  &c.  and  if  tliis  is  his  motto, 
why  should  he  prevent  others  from  adopting  it,  for  who  can  tell 
whether  after  having  run  bis  coui&e  on  the  Continent,  he  will  not 

•  We  answer  decidedly  yes— IT  the  s,.f  o.„l  -.ubpha  i^  led  to  hi)  work  by 
tko  first— H  is  this  cbnaldBntion  that  (l''lrTnii[R'5  the  question  of  plagiarisin, 
Wo  mnst  lUII  Tirdicate  our  rcmirks  upon  .Mn.  Davy's  pulilication,  for  if  llie 
procee<Uiig  slanils  witiim  the  limits  of  Ijunor^iblc  ;iutlior9lii|i,  why  thep  WR  say 
tfic  Lest  part  of  llif  of  [>rii|ii  rty  in  Mich  ivip)Ti(;lits  i<  riliiiKuWici!  at 

once,  and  phsiansiii  or  piracy  -.irn  in  any  iiistaiici;  only  calumnious  terms. — 
Mb.  Mooke  Si'iL-c(3  a  dcxin  aiis,  wrilcE  HOtds  to  them,  and  pablisbeB  them 
Tery  handsomely  in  a  tolume,  at  a  large  cipence.  Oub  or  (no  of  theae  airs 
obtain  a  greater  degree  of  celebrity  than  the  rest.  The  moment  this  is  round 
to  be  the  cue,  a  poetaster  and  a  musiciad  go  to  irork,  tlic  one  prodocet 
the  venes,  (be  other  adapts  them  lo  the  bioiito  air,  and  tbe  publiibar 
arails  hicaself  of  tbe  reputation  which  Ma.  Moore  has  obtained  tor  the  a^d 
■Ir,  and  of  the  temptatio]!  which  the  purchase  of  it  jmg/jf  holds  out.  The  ac- 
quiatlon  of  the  sang  to  efen  tolerable  wards,  without  iucurring  the  cxpcnce 
of  Oie  whole  Tolumc,  cdmpeusatcs  the  million  of  purchascn  for  the  iofcruirity 
of  tbe  poetry,  and  thus  we  cautend,  one  man  mijustly  stiuIs  himself  of  the 
laboim  of  another  to  the  injury  of  the  latter.  The  question  of  rectitude  ftuids 
precisely  where  we  originally  placed  it.  Did  Mr.  Daty  set  these  words  fo 
tUs  airberoro  Mn.  Moobe's  national  airs  appeared?  If  not,  he  was  led  to  H 
bjf  Ma.  MaoBE,  and  (his  exactly  eonstitutcs  the  difference  lictween  a  plagia- 
iwa  and  on  plagiarism.  Notiiiiig  can  be  more  clear  or  more  simple.  Bad  no 
sophistry  alnut  common  rights  can  iuvnlru  it  in  dilRculty.  The  second  pub- 
lication cither  did  or  did  not  arise  out  af  the  hnaHlcd|;c  of  (he  first  and  the 
cdebiity  obtained  thereby  ta  tbe  air.  If  it  did  arise  out  of  such  knowledge, 
It  wu  apta^iiim  to  the  fullest  extent  of  the  meauiug  of  the  term,  howerer 
diaguised  hi  the  execution.  Inforo  coaidcnlia,  we  should  say  the  more  art 
(here  is  nted  in  concealing  the  fact,  the  greater  the  mom  trniutader-n 
EonoR. 


Digiiized  by  Google 


386 


OK  maifif.  FiKWiUEnuifliiip. 


(sappofiing  the  rage  bUU  lo  ezut  far  tlib  soit     pnbUoation)  ntmni 

to  hisnalive  home  and  eelect  Eagtiihmtlodiei;  if  be  doe«  not  in  tlie 
meaa  time  grow  too  ricb,  I  shall  consiilei  this  a  very  ptolmble  ctue, 
anil  think  it  likely  Ibat  "  Brilons  strike  home,"  "  Oh  tlie  Roast  Beef 
of  Old  England,"  Coiue  cheer  up  mi/  fails,"  "  Black  Eye'd  Susaa," 
ot  '  "T/ie  Bai/  of  Biscni/,"  mil  be  subjects  lo  be  Bslectcd  at  being 
some  of  the  most  po|jLilar.  Now  liiglily  gifted  as  Mr.Mtisirithjmelio 
talent,  foi  tlie  sake  of  argument  I  will  suppose  him  to  fail  id  o»e 
imtaace,  nod  KUppoM  tliat  some  otbei  poet  of  oni  country  ilwuld 
bappenlo  Mtthu  one  sir  to  better  ot  mora  ftpproprinte  waid»»b  Im 
in  tnoh  caie,  I  iraald  aik,  to  be  problbiled  from  publUiii^  It  for  S 
ynn,  merely  brcanae  Mr.  Moore's  out  finti  Or  again, 
■oppaieUr.  M.  to  hare  aet  wOTds  particularly  suited  to  hit  pottu^ 
notionB,  to  one  oftbese  national  airs,  is  it  to  go  forth  to  the  world 
unanswered  for  S8  years,  merely  tliat  he  and  his  publisher  shoold 
make  mont-y  exc/uiiW^  by  il  ?  No,  Mr.  Editor,  on  this  point  at 
least,  I  coiisidi^i  T.  C.  C.  is  wrong,  aiid  that  it  would  be  injarioiu  to 
the  musician  and  the  public  at  large  to  put  a  seal  on  that  which  is 
public  rigblf  and  I  loally  cannot  suppose  Mti  M.  himself,  on  leBection, 
would  attempt  lo  jutlify  an  eztdoMTe  claiiD,  or  try  to  nbridga  Dm 
rights  of  the  public 

Hr.  M>  and  his  publisher,  from  (he  very  line  thej  bave  taken, 
nay  have  been  annoyed  a  good  deal  to  be  sure  by  what  tbif  tsnO' 
Fltaciesgbut  the  remedy  is  at  all  times  within  their  ownrea<A.  Let 
Mn.  Mooas  (who  bo*  helped  himself  to  a  full  share  of  old  aim)  nair 
b(|gin  ta  write  loor^gjHlnuii&,  and  there  will  benocarib  about  bta 
copy-right,  DO  occdrion  fbr  T.  C.  C.  or 


Yonr  tidiest  Ser¥aa(| 


O.G.T. 


London,  Jim  HO,  1831. 


ts  sat  soon  tiiaeua  by  Hb.Datt,  aadlintltl* 
IIUuHh.  D.t«fixu  asdodn  claim  Ml^wuta 


Digilized  by  Google 


TO  THE  BDITOIL 


ELEHENT8  OF  VOCAL  8CIBNCE. 
Chaftbr  S. — Ok  Same*. 
l^iiB  term  Science,  in  lis  partlcBlu  accnplBtioi^  wken  apptM  Id 
singing  appeart  to  be  Ytiy  diffientt  lo  delm.  Id  nniTenal  and  con- ' 
■Uot  UK  exftibib  one  iiwtenee  «f  dn  ittdboriminhta  adoption  of 
worth,  tdtovMidi  people  an  iptto  fitfl,  irillKHit  affixing  to  Ottm 
Bn7  pTCcite  idHu  Erery  one  talk*  of  "Hw  idaiM  ofa  linger,"  but 
tbere  are  my  few  wbo  liirrc  era  riopped  to  coniider  what  tbej 
pnrpofB  Id  eapreu.  Science  appean  to  mo  to  imp\y  the  perfect 
union  of  Usle  and  knowledge — the  complete  combination  of  eCjIc 
and  manner— a  thorough  acquaintance  with  tbn  ruka  of  art,  and  a 
power  of  reducing  thero  to  just  praoticc.  Ttie  word  however,  ge- 
nerallyt  bis  a  more  limited  signification,  and  commonly  stands  for 
tbe  act  <rf  reading  musio,  a  knowledge  of  harmony,  and  the  proper 
itgalatioa  of  oniaaMiit,  or  perbapi  li  ilill  more  eommoidy  vkolty 
oonflocd  to  tbe  latter  abjoet. 

7he  fmndaliona  of  Science  in  tbe  wnie  I  ahonld  bo  dbpoaed  la 
employ  it,  are  laid  in  (ho  knowledge  of  notes  anil  of  measure.  The 
structure  proceeds  by  the  rormnlion  of  the  voice  and  by  the  acquisi- 
lioo  of  the  raecbanical  elements  of  the  ATt—portamaito  dt  we  (by 
vbicb  I  mean  tbe  production  of  pure  lone),  the  stiitlie,  execution  of 
paaasgef,  &c.  dec.  to  the  knowledge  of  the  higher  uitribiitei  of 
ezpFeeiion. — Lu(,  bnl  not  the  least,  is  musical  erudition,  or  such 
an  acqpaintance  with  the  rarious  atyles,  both  with  respect  to  the 
vamm  and  (he  mattai,  ai  cnablei  the  stager  to  appieelate  the  exact 
qnalKiet  nf  a  eoBpfrilioo,  aad  to  potflRra  It  with  (be  trae  chane* 
(erUlci  of  the  aathor.  Tfana  the  troib  of  ancient  and  nodcDi 
compoiers,  of  PmaoBLi.  and  of  Hahdbl,  of  HAmN,  IUokart,  and 
RoMiHi,  demand  a  different  execution — principally  indeed  ai 
relates  to  dignity,  grace,  and  ornament,  which  essentially  depend 
on  the  degieea  of  solemnity,  of  force,  of  lighlnesi  and  facility,  a 
•ingei  ia  able  to  besUw  i  and  Ixnee  it  arim  tbat  SfMooe  ii  held  to 


888 


lunmni  of  tocu,  saacx. 


be  manifnted  in  proporiion  as  Iho  exccntion  appnwcba  to  iho  ori- 
ginal cbsiacler  of  Ibe  work,  the  manner  being  deemed  merely  the 
instniineDt  or  means. 

If  tbcn  I  have  admitted  the  legitimacy  of  thia  word  at  all  as  ap- 
plicable to  a  particular  branch,  rather  than  as  a  term  comprehending 
the  wliolc  subject,  it  is  in  compliance  with  castom  more  than  from 
any  conviclioii  of  its  utililywhen  an  taken;  for  the  general  rales 
wc  can  lay  donn  arc  few,  and  oughl  perhaps  to  be  entirely  compre- 
hended.  in  the  explication  of  the  several  ipecieg  of  which  it  h 
compoied,  and  vUch  mnit  of  coaiiebe  tieated  by  ne  is  <le(an» 
■honld  1  complete  the  task  I  have  auumed.  BeSec4!on  indeed 
assures  me  that  any  observations  of  this  nalure  can  only  be  applied 
to  Style  and  Ornament,  both  which  mual  have,  together  with  other 
heads,  a  separate  chapter  assigned  them. 

I  may  hoivcvcr  bo  permitted  hcic  to  intimate  that  Science  (so 
taken)  indicates  ilself  in  apprcbendinj;  and  preserving  the  general 
character  of  (he  song.  I'lie  tirel  thing  is  to  determine  iU  range  as  to 
lentiment,  and  perhaps  no  analysis  has  yet  been  given  more  perfect 
than  that  of  Ha.  Bbowh,  ja  his  Letters  on  Ibe  Poatiy  tad  Bfniioof 
the  Ilalian  Opera.*  Tfafi  tightly  nnderslaod,  the  UDger  will  adapt 
hii  entire  deportment  accordingly.  He  will  become  enei^ettC}  de- 
clamatury,  soothing,  tender,  or  pathetic,  in  hb  general  manner ;  aad 
in  liis  application  of  ornament  sparing  and  erudite,  or  easy,  florid, 
and  luxuriant,  agreeably  to  the  cast  of  the  melody.  His  cadences 
will  be  in  a  like  manner  appropriate  to  the  leading  features  of  the 
composition.  Hu  passages  will  be  plain  or  (Anoutic.  His  modu< 
latioa  will  be  suntlai  in  kiad  and  in  efieot,  at  the  example  of  the 
oompoBct  wanants. 

Sucli  seems  to  be  the  general  nature  of  the  word  Siuence,  in  ill 
restricted  and  narrow  inlcrprelalian,  concerning  which  so  much  and 
so  lilUe  can  be  said.  Por  my  own  part  I  would  rather  apply  it  to 
tbe  whole  than  to  any  part  of  vocal  art,  although,  yielding  to  usage, 
I  have  taken  it  for  Uie  title  of  thu  short  chapter,  as  a  neceuaiy 
opeitiag  to  those  parts  of  the  subjectwhicharetcohniotl,  and  wbit^ 
aie  incloded  in  tbe  general  appnhenrion  of  the  word.  . 

I  am,  Sir,  yoiu:*s, 

TIUOTH£U8. 


•  6eeHadnlMBgadncRndReTiew,VDL1,p.3S. 


ON  THE  HUBIG  OF  OUR  CHURCHBS. 


TO  THE  EDITOIL 

Sia, 

If  OB  a  lover  of  Science  I  Iiave  Teceived  much .  delight  (and  I  may 
add  instruction)  from  "  The  Mnsical  Student)"  no  less  have  I  as  b 
Cbristian  been  gratified  by  the  spirit  of  piety  its  iogenions  anthot 
diiplays.* 

His  nouuka  are  axtnsidy  jiut  inpeoting  the  diunatio  nature  ot 
■eremlofonrncredcompositioDB— the  imiooper  tendency,  of  snch, 
and  (be  iacfease  of  this  evil ;  but  of  the  abwlnle  union  of  sacred  and 
profane,  a  more  remaikable  example  does  not  at  pment  occur  to 
me  than  that  afforded  by  Joublli's  celebrated  Chacoime,  (intro- 
duced, with  the  overture  of  which  it  forms  a  part,  in  the  Caitle 
Spectre),  the  fine  subject  of  which  iji  a  chant  in  out  communion 
service.  I  well  remember  how  much  this  circumstance  ihoclced  me 
when  Rrst  informed  of  it — in  the  day*  of  anprejudiced,  unsophis- 
ticated childhood;  noi  have ^  ceased  to  reflect  upon  itsiiice,  with 
otbn  senlimenta  than  thine  of  mingled  wonder  <jid  ngiet.  Then 
Is  apparently  one  way  or  the  other  a  great  abuse ;  dlfaer  the  chant 
was  in  iUelf  too  light  for  tbe  cathedral}  and  therefore  ought  never 
in  tlic  first  instance  to  have  been  admitted,  or  it  was  of  too  serious, 
too  divmc  a  character  for  the  theatre,  and  should  liave  been  equally 
excluded  Irom  thence ;  how  tbb  may  be  1  Aall  not  pretend  to  de- 
tennine,  my  otfieot  in  addreasing  yon,  Mr.  Editor,  was  chiefly  to 
o^  a  few  deultoiy  icmwiu  on  the  Mnsic  of  oar  Ghiurobe*  in 
general. 

Cboral  setvice  wu  inlrodoced  to  early  into  England  ai  A.D.  tX6, 
dnring  the  BeplBicby,  by  Attitin  (afierwaids  Atchbisbop  ofCurter- 
bury,)  and  his  associate  missionaries,  who,  we  are  (old,  even  Bp- 

•  Ttia  communicalion  Has  receiicd  about  a  week  after  our  last  Kctlrw  w«i 
printed,  Init  before  it  was  published.  Vi'c  ite  diapOTeJ  lo  think  lhat  onr 
Correipondent  would  olhervise  haje  alluded  to  the  article  oa  PsalnMidy 
tbenda ;  but  as  we  ttmik  attentioD  cannot  be  too  stroaglv  attracted  towanu 
tUi  ivtiec^  we  we  the  nan  ktffj  to  inwrt  UsLsttsr.— £d9!or. 


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ON  THE  ML'SIC  OF  OUR  CHUilCllF.e. 


proacbcil  Ethclbert  chanling  litanies ;  to  the  catliedral  anil  oilier 
churches  of  Kent  it  vita  for  a  period  coofined,  but  from  thence,  irith 
ChristiaiiitT',  gadviSlj  expanded  om  fUa  400111?/.  -tfoalu  intiO' 
dnced  this  pottion  of  Divine  lerrice,  and  it  is  to  theca  in  part,  and 
In  part  to  the  good  taste  of  oar  SaKon  forcfatbers,  that  we  are  in- 
debted for  ila  preseryalion  dating  those  darli  ages,  vhen  literature  of 
evciy  species  teemed  to  be  extinct ;  for  if  the  auperslilion  ani]  ignor- 
ance of  those  reclusei  taught  them  to  place  their  hopes  of  acceptance 
mUi  the  Almighty,  in  the  doe  perfonMBoe  of  pgdiDR,  masses,  tec. 
both  m  penitCDtlal  dattes  and  mrka  of  snpcTaogntion,  our  ancts- 
-ton  cm  the  other  baod  veie  k>  cbarmed  wIHt-the  nmiea]  lirtlce  of 
their  teligion,  (hat  they  reqnired,  and  in  manjp  placet  efifectet,  a 
iJiat^iBla  fc^-wp  alglrtMtJ  flay  wMiwiUBtcriatortuu.  Hhtotlans, 
vitliin  the  oohibmii  rngs  of  wadlag,  gfi«  tra  IHHe  fnfomiation  con- 
cerning tiM  progreu  of  mnric  in  this  conntrj,  besides  those  notices 
of  the  inventioa  of  musicBl  notes— counterpoinl — the  formation  and 
inlroductton  of  a  variety  of  musical  inilTiimenIs  info  this  kingdom, 
vhi«h  genemlly  rank  nnilcr  tie  bend  of  "  remarkable  events,"  or 
"  nsefiil  diicoreries,"  We  mny  Iinwcvcr  siif  pose  tliat  our  church 
nmmc  had  attained  to  r  high  i!rgTce  of  perfection  in  the  days  of 
Queen  filisabeth,  if(a«  Strygic  lias  recorded  in  his  annals  of  tlie  Re- 
fiir«alxM}  tbe  French  Ambassadnr  in  lier  snite  was  to  enchanted  by 
IhemnsieAf  Canterbury  cnlhcJrnl,  that  he  irasihdaced  toexdalm, 
"OOodI  f  think  no  prince  in  all  Eiiropeerer  heard  the  Itke;  no— 
not  onr  holy  father,  the  Pope  bintEein"  Many  eminent  masters  have 
ariiea  to  improve  our  churcli  mudc  since,  but  irhilc  we  justly  boait 
of  onr  cathedral  service,  isitnat  lamentable  to  see  (and  dlscredit^le 
in  us,  OE  B  religious  and  scientific  people  to  allow)  the  irreverenc 
and  careless  IndiSbrcnce  nilh  which  tliemosicnl  portion  of  worship 
is  performed  In  many  of  our  parish  churches.  Religions  har- 
mony," says  CoLLiEK,  "  should  be  moving  but  noble  nithat;  grave, 
■olemn,  and  seraphic ;  fit  for  a  martyr  (o  play  and  an  nneel  to  hear." 
How  great  I  I  had  almost  said,  how  ludicrous,  the  contrast  aSbrded 
by  the  "religious  harmony"  of  many  of  onr  places  of  public  wor- 
ship at  this  day;  aAoraian^tn  which  time,  (one,  expresuon,  in  short 
the  very  CHeBce  of  nraiie  ii  dluegnidcdt  tW  life,  tfas  midI,  mil 
1MK,  annihilated;  whUe  those  laUhnB  byinni,  Goni|KMed  for  and 
rang  their  iuapired  author,  **  to  (be  pntise  wd  glory  of  Qad)-' 
more  fjnqueKdrraiiiMliu  of  tile  dMnHTal  waffings  of  tonmnted 


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0)j  THE  MUSIC  OF  OUR  CUUHCIIGS. 


391 


xptrth.  I  may  aUo  uolice  the  wodul  perversion  of  a  rule  a%  equally 
'^^lieabla  lo  muiiic  (roeal  ecpBchlljr)  ai  to  poetry,  viz.  "  that  ike 
«rand  BhouM  be  an  echo  to  the  sense whence  it  comes  that  \ie  too 
often  hear  ptalins,  expiessire  of  Ohristian  hope,  grifltDde,  and  joy, 
suDg  to  Euch  heavy  anii  Ingabrioas  strains  aa  ate  belter  adnplcd  la 
lays  of  laraentatioti  and  despair ;  and  which,  vhiEe  they  aervB  elTec- 
taally  to  depress  the  tierolion  of  the  pious,  give  sensible  pain  to  the 
musical  pnrliou  of  llic  congregation.  TIic  poivcr  of  music  on  the 
mind  is  as  indubitable  as  it  h  inexjilicablc ;  surely  then  the  most 
soperior  of  all,tliat  wliicli  is  employed  by  man  in  tiie  service  of  tiie 
Great,  the  Adorable  Crealor  of  Heaven  and  Earth,  should  be  rcscscd 
hma  the  contempt  (1  allude  lo  the  psalmody  of  ourpariA  churches) 
vhtoh  it  nmetimes  meets  with,  and  Awn'Aeie  impraprletieB  not'per^ 
haps  irithont  some  shadow  of  reason,  from  the'  idle  and  pro&ne.  I 
do  not  by  any  means  desire  my  obsi;rvations  to  be  nndcrstood  as  cx' 
tending  indiscriminately  to  all  churches — they  could  not  in  justice 
be  so;  but  I  cannot  Aiibcar  liiinhing  (hat  where  similar  annoyances 
to  those  which  I  have  named  are  foniid,  tlic  fault  must  lie  with  those 
whose  province  ft  is  to  suporinfpnd,  direct  the  music  of  llie  cliurcli, 
and  instmct  the  singers.*  A;,  to  the  best  method  of  remedying  abuses 
inch  as  I  have  named,  I  am  content  to  leave  it  to  tliose  wlio  are 
bdtacabic  to  plan  and  more  jiowerfiil  to  exccule  than  myself,  only 
olMerving  that  were  the  hymns  and  anthems  of  our  great  sacred 
eoraposen  introduced  more  generally  and  frequently  into  our 
oborcbes,  it  would  be  ap  infinite  improvement  upon  the  present 

*  I  cunot  omit  !n  ffais  place  presenllng  you,  Sir,  (ilthDugh  perhaps  not 
altogether  strittly  appropriate  to  the  present  subject)  wilh  the  foUowing  eurious 
An  of  farliamcnt  passed  ia  the  year  1S79,  far  the  encauragemeot  of  music 
in  Scotland,  by  oar  Caledonian  moiiarch,  James  1st. 

"  For  iiistmction  of  youth  In  the  arte  of  moslcke,  and  singing  qnhilk  is  like 
to  fall  in  great  decay  without  limeous  remcid  be  protided,  our  Soieraine  Jjord, 
with  adiise  of  his  tbree  p5(aL1ps  of  this  presf  iit  parlianir^iit,  requests  the  pro- 
Tests,  baillies,  counceli,  and  communities  nf  the  m^isl  spt'rial  burrowes  of  this 
realm,  and  tlic  patrons  and  proiosts  of  the  ™llcil!;i;s,  (luli^ir  sang  schoolcs  arc 
founded,  to  erect  and  set  up  anc  bang  schools,  wiih  aiiu  niai«ter,  sulfirient  and 
abill  for  instructioQ  of  youth  in  the  said  science  of  niusicke;  as  they  will 
answer  to  his  Hlenes  upon  the  pcrrel  of  their  foundaliones,  aiid  in  perforiuiiig 
this  hi)  Hienes  reqnlest  will  do  unlo  his  Majestie,  Bcce^tobil  and  gude  plea- 
rare."— iUurrcgi'l  Lmi  and  AtU  of  PwHanatL 

This  Is  a  curious  sad  remarkable  memorial  of  IbeesBmatloD  in  which  miuic 
was  bdd  ia  North  Brilabi  alwva  300  years  ago;  Ibe  Uug  himself,  wc  see, 
lowering  a  Eonuoand  respecfiog  it  bto  areqnest- 
YOU  III.  XO.  ZI.  a  q 


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993        '   ON  OSS  mnKi  iw  OUR  CHURCHES. 

■fslem  of  pulmody,  b;  which  not  above  tvent^  psalma,  from  ike 
vialo  colleclioD,  nrc  sung  iu  many  parishes,  in  the  year,  mil  with 
small  variations  aiid  ailditions  eterj/  year;  there  wants  vaiielj;— • 
qIso,  were  the  choristers  of  out  parish  churclies  taught  more  generally 
to  sing  in  parts,  the  effects  ifoulil,  I  ara  inclined  to  think,  be  much 
mote  pleasing  than  their  pcrformaace  now  in  unison  ;  lo  Ibis  how- 
ever I  am  aware  it  will  be  objected,  that  harmony  is  unnatural  and 
highly  ofienuve  lo  vulgar  or  uncultivated  carsj*  but  ax  taste  in  every 
science  is  in  a  maaaex  acctniiedandceitainlj  improved  by  custoni  and 
acqnaintance  witb  iflwtever  ttie  science  may  bo,  our  populace 
would,  I  apprehend,  be  in  a  short  time  as  greatly  prejudiced  in 
favour  of  harmonical  combinatioDS  as  they  are  now  against  them, 
were  they  I  mean  introduced  generally  into  divine  service.  I  can- 
not close  my  remarks  better  than  with  the  senlinienU  of  the  excellent 
Bishop  Home  on  (he  subject  of  Church  Music  :  "  The  light  move- 
ments of  the  theatre,"  says  he,  "  should,  with  the  effeminate  and 
frittered  music  uf  modern  Italy,  be  eicludci!,  and  such  composers  as 
Tai.!.!*  and  Binn,  Giubohs  and  KtKG,  Pdbcell  and  Blow, 
Croft  and  Clakkb,  Wise  aod  Wrlboh,  Gbxeh  aad  Handkl, 
should  be  conudeied  (and  It  is  hoped  they  alnaTs  will  be  coasideied) 
Bs  oni  Knglish  obuiio  ia  this  sacicd  Kaencs>" 

JUTENIS. 

February  Hd,  1831. 

*  VUa  lUmiiuu  so  the  Subject  ot  HatmMiy. 


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TO  THE  EDrrOR. 


(Coatima^  of  the  Set.  C,  J.  SjrrrvV  Andyas  ofCaLMm's 
SVeolfte  m  Acouslia.) 

OF  THE  VIBRATION  OF  STRINGS. 
Transversal  Vibrations. 

A.  SraiwG  can  vibrate  in  lha  wlioltr,  ordividod  inlo  any  number  of 
equal  |)ar(s,  sojiaraltJ  Iroiii  cacli  olbcr  by  knots  of  vibrations.  The 
on\y  diSeieoca  bctiri^cn  tlicsc  liro  kinds  of  vibratiur^s  is,  tbat  uDity 
vhich  leivm  for  llic  loeasurc,  changes,  because  when  the  slrtng  di- 
vides ilieirinlo  «liquot  paid,  each  balf,  each  third  part,  &c.  nialies 
ib  vibraliofuu  if  it  mu  &  particular  string.  The  most  grave  sound 
is  Umt  ^hen  tlie  whole  string  mahei  vibrations  in  formiDg  aUctnately 
the  cBirea  represented  in  figure  I,  acb  and  adb.  Wbcn  it  di- 
vide* itself  into  two  parls,  one  part  is  afaore.  the  ordinary  poaitioni 
wliile  the  other  is  below,  and  the  curvatures  are  as  figure  S,  c  d 
e  e  b  and  a  f  e  g  b. — The  louad  ia  more  acule  by  an  octave 
than  tlie  fint>  If  the  string  divides  itself  iiilo  three  parts,  (he  cur- 
vatoret  are  alteruatelj,  as  Ibose  which  are  marked  in  figure  3— of 
twodiffiuentm^nners,  and  the  sound  is  mure  acute  by  a  fillh  than 
Ibe  second  j  if  it  is  divided  into  bur  parts,  figure  4,  the  height  of 
the  sonBd  rises  a  foarib.  In  geneial,  all  the  possible  loands  are  as 
the  number  of  parts,  or  as  tlieir  inverse  lengths.  The  series  will  then  ' 
be  as  the  numbers  1,9,  3,4,  Sec.  When  the  most  grave  sound  is  ul, 
the  series  of  possible  sounds  will  be : 
Number  of  parts.— 1,  2,  3,  4,  5,  6,  7,  8, 
Souuds.— uti,  ul2,  sol2,  ul3,  mi3,  sol3,  b\.\,3,  ut4. 

Number  of  parl5.-9,      10,      1 1,      ]2,      J3,     14,     15,  16. 
Soundi,,— re  4,  mi4,  fa4+,  sol  4,  ia4— ,si[,4,  si4,  ut5. 

Ill  a  string  of  unequal  thickness  the.  vibralions  arc  generally  very 
irregular,  except  in  some  parlicniar  casc-s ;  for  example,  if  the  length 
of  the  parts  are  in  the  inverse  ratio  of  the  diimiL'fcrs. 

To  produce  the  sounds  when  a  siring  divides  itself  inlo  aliquot 
puts,  yiK  mnit  press  the  fiogei  very  lightly  at  a.  place  wltere  tbere  is 


CHLADNI  OM  ACOUimGI. 


a  knot  of  vibralion,  and  applj'  n  violiii-boiv  \ay  nesT  llie  middle  of 
a  vibrating  part. 

We  most  not  press  too  in\ich  ttic  knot  of  vibralion,  in  order  to  avoid 
obstructing  the  commiinicalian  of  the  mutioii  of  one  part  nith  the 
other;  tLe  pressure  of  the  bow  ouglit  to  bo  miicli  Iras  than  for  the 
fundamental  sound.  We  can  rczulcr  visible  llie  division  inputting 
small  pieces  of  pap«r  ou  diOercnt  places  uf  the  siring  ;  those  which 
arc  on  the  vibrating  pnrta  arc  driven  oS  by  tlic  vibrations  and  fall; 
bal  those  nhicli  arc  placed  on  tho  knota  of  vibnitioo,  Temain  tm- 
moveable. 

'  When  tho  thickness  and  the  length  of  string*  are  the  nme,  As 
Boanda  will  be  as  the  square  roofs  of  Ihe  tension.  If  wc  'wish  fom« 
ample  Ihntlhe  sound  of  a  siting  should  differ  from  that  of  another 
by  an  octavC)  the  tensions  must  be  as  I  to  4. 

A  singular  phenomenoa  is  mentioned  by  Mn.UEi>i.wAc.  If^epal 
abridge  under  a  siring  go  that  it  does  not  fix  i(|  bat  touch  it  very 
lightly,  nnd  if  ne  pincb  tire  siring  sbthatitslrilieBTerlicBllyopon  the 
bridge)  there  will  be  cases  in  wbicfi  wc  sbalt  bear  the  stroke*  as  an 
appiGoiable  nnndf  more  grave  than  the  common  fandaitieitlal  Ainnd) 
bat  Tory  hoarse  and  disagreeable,  on  accotmt  of  Uie  Aarormtty  bf  the 
idbrations.  This  (ound  may  be  called  (son  nmflant^  the  snbririg 
sound  of  the  siring.  Ifwc  apply  the  bridge  to  the  iftiildle  of  the 
lIMng,  the  snoring  sound  is  lotrer  by  a  fiflh  than  the  ordinary  sound 
ofthevrhole  siring.  When  the  string  figure  9,  is  drawn  from  its 
common  position,  p  n  j  towards  mj  and  let  loose,  it  ttrikea  aAera 
half  vibration,  the  bridge  n;  the  tvo  halves  continue  their  motion  in 
forming  themselves  into  the  cnrrolures,  p  k  n  nnd  i  f  q;  then- 
thcy  tvill  return,  and  as  soon  as  they  arc  arrived  at  the  axi9,pnq, 
the  whole  string  raafcct  a  half  TlbtaUOn  (Awards  p  in  9,  and  afioOfer 
lowards  the  axis  p  n  9,  and  so  on.  Web«ar,theiiribt«)  (be  >tn)luk«a 
Ihe  bridge  in  Uie  som  of  the  intervals,  according  to  the  times. 

].  The  half  vibialion  of  eachbalf,  pR  and  nt;,  toward*  pilit*  and 
"/?)  I     <i  common  vibration  of  (he  whole  strings 

9.  The  return  of  each  half  to  tbe  axis  p  n  t[,i  td  *  common 
vibralion. 

3.  The  motion  of  the  whole  string  towsrcbp  it  9,  {  of  avflmdioii. 

4.  Tiie  return  of  the  nbolc  string  to  Uie  axis,  where  It  AftiBi 
bridge,  {of  avibmtion. 

Tbe  kmd  of  times  being  thacTore  between  two  strikEof^  i+i+l . 


dftAMR  -OR  'a1MMUII> 


-H^T-  ttmlag  Kmnd  mmt  thei^K  be  a  fifth  more  grave 
(Inathe  comniaii  Mnnd,  OoDfoHnnblj'  to  experience.  'Bat«nB(t- 
caant  of  tiieiDolioni  of  each  lialf,  there  is  atnayt  a  mtztwe  «f  the 
acute  unmd  irbich  bdongs  to  these  halrea,  and  at  length  irlten  the 
Unkes  «a*e»  Ahb  acute  wand  coatinaec  a  little  loDgcr. 

XiOfijfindiaal  VSntdum  of  Slnngi. 

The  hmgltadinal  Tibrations  consist  m  the  oontmotioni  and  dila- 
tations ofthe  String  or  tire  aliqnot  patis,  which  are  applied  altemate- 
Ij' at  one  or  other  fixed  point  or  knot  of  Tibrations,  lathe  most 
limple  longitudinal  motion,  the  nhole  string  has  a  molion  alternBteI}r 
toward*  one  and  towards  the  other  fixed  point  (li^.  34,  a  &;  b.)  The 
■ecoTid  kind  of  longitudinat  motion  b  that  ^rhen  the  itrinf  dfvEdea 
hiclf  into  two  equal  parli,  which  bear  allematdj  towards  the  knots 
of  vibrations  in  the  middle,  and  towards  the  points  fixed  at  thcex- 
tremftltS)  (Hgurc  36,  aand  6)  in  the  third  kiml  of  longiludinal  vibra- 
"ttons,  the  movements  of  the  parts  arc  sllcrualcl;  as  figure  56,  a  and 
h.  Sec.  Vcc.  The  sounds  bare  with  respect  to  each  other  the  same 
tMioi  Mthott'oftfaoMMnal-ribTiHions,  1>eiiig«s1beiniiiibenl,2, 3, 
%Sat.'S^  bnt  tbenia  noftndtfttloltir  ttieabioltite bright  of  ibe 
voiiBd*  between  time  two  ktnda  of  movement,  because  Uie  laws  ore 
very  diSbwnt. 

iDocderM  piodtce  these  sounds,  we  must  rub  bngfttn^itd^a 
vibrating 'part  of  the  string  with  a  violin  bow,  w^iich  most  be  beld 
nndrr a  tcr;  ncnte  angle,  or  with  a  finger,  or  witb  nnotberdexible 
body,  to  which  must  be  applied 'powder  of  rerin.  Ae  divinont 
of  the  string  into  aliquot  parts,  we  must  tondi  f tgtitljr  at  Ike  moe 
tinie  a  knotof  T^)ration.  , 

Tile  lam  of  longitudinal  vibrations  diffbr  altogetberftont  those  of 
tmurennl'ribratlons.  Theoulj'  reKroblance  isjlbattbesoundiare 
inlbafdreEseiatla  ofihs  lengths;  bnt  in  longilndinal  ^btatEomthe 
■oaaddepeDcliiiot  tpoa  the  thickness  of  the  string  Dornpon  Iheten- 
Hiod:  bot-solelf  upon  tbe  length  and  tin  klnd'ormatlerof  wfaiobit 
Si  mode,  since  a  strfogof  bnsa  wBl  give  a  sound  more  acute  hj  almost 
a  sixth,  limn  a  striflgofcat-gut,  and  the  sound  ofastringof  sicci  sur- 
passes that  of  a  string  of  brass  aloiast  bf  a  fifth.  To  mnkcciperi- 
mentt,  strings  ot  considetoble  length  must  be  used,  the  sounds  licing 
very  acute.  Ub.  Chlavxi  made  nse'of  strings  which  were  48  feet 
long. 


•  996  CHLUMI  ON  AOOORHI. 

Of  the  VOraUoiu  of  a  Stnbiid  Mminm. 

A  rectangular  ttrdched  manbnme  taldj  tecotding  to  its  length, 
viW  be  susceptible  of  the  same  vibtations  and  the  same  sannda,  as  b 
string  frhich  yibrates  transversally  ;  the  knots  of  the  yibrafions  will 
then  be  immoveable  transversal  lines.  But  inch  a  memlirane  stretcbed 
in  more  directions  than  one,  ma;  also  vibrate  in  an  infinilj  of  man- 
ners, in  nhich  we  cannot  express  the  curvatures  for  the  lines,  but  for 
the  surfaces  of  the  curves;  for  nhich  espressions  and  meaoi  of 
oBloQlating  are  as  yet  wanting.  The  knots  of  tho  jibntkmt  wBiSim 
nodal  Utietf  in       difiercnt  directions. 

Vibralioni  of  the  Air  in  Wind  InslrumaiU. 

']^he  question  here  is  concerning  tl:c  vibrations  of  the  air,  when  it 
is  itself  the  sonorous  bodj. 

Cvery  stroke  lufficienllj'  strong,  for  example  the  stroke  of  a  whip^ 
prodacei,TibrationB  in  the  air;  but  generally  the;  are  too  irregulai, 
and  loo  little  isocnutoiUj  to  give  an  appreciable  sonnd.  The  vibra- 
tions  of  tbe  air,  produced  by  the  passing  of  a  current  of  air  through 
au  opening  or  straight  slit,  are  much  more  appreciable.  The  quick- 
ness of  these  vibrations  depends  (1)  on  the  rapiditj  of  the  current, 
for  the  sound  is  more  acute,  if  the  opening  remaining  the  same,  the 
rnpidity  increases ;  (3)  upon  the  size  of  the  opening,  for  the  current 
remaining  the  same,  the  sound  is  more  acute,  if  the  opening  is  less. 
If  botli  increase  or  diminish  togcllicr,  the  sound  remains  the  same, 
but  the  iulensitj'  will  be  iliOeretit.  Whistling  b;  the  compression 
of  the  lipt,  udthe  sounds  which  the  wind  sometime*  produm  in 
patrii^  IbroBgh  a  straigtit  sill,  roaj  serve  for  on  example.  The 
(onndi  which  can  be  produced  by  the  blon'ing  alone  of  some  instru- 
'  ments,  for  example,  through  the  reed  of  an  oboe,  follow  Ihesame  laws. 

Ifa  rapid  ourreut  of  air,  passing  tlirough  an  opening  or  straight 
■tit,  force*  a  nembrani-furm  body  to  vibrate,  the  sound  is  stronger, 
but  it  becomes  generally  more  rough  and  snoring.  This  takes  place, 
for  example,  if  between  the  lingers  of  each  hand  ft  small  jiieGO  of 
paper,  or  the  leaf  of  a  plant,  or  reed,  be  held  so  that  the  Cturenlof 
air  produced  hj  blowing  shall  pass  on  each  side. 

In  the  pipe*  of  organ*  and  other  wind  inatrumenta  the  colnma 
of  air  tncloaad  i*  the  wnoroni  bociy  wbicb  make*  Jon^tndiiMl 
vibratuuu.  It  is  perfectly  dear  that  the  instmoKiit  itialf  it  not  the 
wwomabodjr;  fin  the  mattei  of  trbidi  it  is  composed,  (he.thick- 


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cHSion  OH  Acpmncs-  8§7' 

noiof  tkeiidM'oClIieiHptB,  Qtediameto'iohaagea  not  tho  sound.— 
IhediSerencseB  of  tbe  quality  of  the  sound — for  example,  of  pipes  of 
the  tame  form,  made  of  vood,  metal,  glass,  &c.  seem  to  depend  on 
the  different  frictions  of  the  air  against  the  sides,  or  by  a  feeble  reso- 
nance of  Ihesidea  tfaemselTcs.  There  >«ill  be  uo  sound,  if  ne  blaw 
limply  into  a  tube,  lor  that  produces  only  a  progressive  motion  of 
the  air,  vhicb  it  not  a. sound;  the  air  must  enter  by  a  stia^ht  slf^ 
or  cause  to  Tibrate  an  elastic  plate,  vboie  vibratioDs  prodace  liiailar 
Tilaatiaiu  in  tbe  coloma  of  air  cootained  in  the  tube,  or  at  least  a 
■mall  ^atetrf^,  poshed  ifUh  force,  stiiket  againit  the  cnttii^  edge 
of  an  angular  body,  and  pastes  almost  id  the  direction  of  the  axis 
oppoeila  thaendof  the  column  of  air.  The  tone  depends  (I)  on  the 
manner  of  blowing,  (S)  on  the  length  of  the  column  of  nir  contained 
in  the  ppe>  If  one  of  the  causes  has  a  coiisideialjle  preponderance, 
it  mill  be  sufficient  to  determine  tbe  sound ;  but  if  there  is  no  such 
preponderance,  there  is  no  exact  tonnd,  because  eacb  cause  has  a 
tendency  to  produce  another  sound,  exc^  both  operate  (at  least  a 
little)  for  the  same  effect. 

In  those  hind  of  oi;gan  pipes  called  reed  dopt,  tbe  «rand  depends 
piiocIpsUy  uptm  the  manner  of  blowing.  The  sir  cntmiiv  cansqt 
to  'vibrate  a  small  plate  of  brass,  called  the  tanguetUy  pressed  towards 
the  quil  by  a  wire  of  iron  called  the  Jpring,  whose  upper  end  is  bent 
IP  the  form  of  a  crutch,  to  tune  the  pipes  in  pushing  the  spring 
higher  or  lower  by  a  tuner,  which  increases  or  diminishes  tbe  vibra- 
ting part  of  the  langnetle,  and  enlarges  or  encloses  at  the  same  time 
the  slit  by  which  the  wind  enters.  The  part  of  the  pipe,  in  which 
the  air  is  contained  which  mokes  longitudinal  vibration),  is  longer 
for  grave  sounds  than  acute,  but  less  long  than  in  other  slops  of  nu 
argaa,  because  the  Tibiations  of  tbe  laiiguelle  force  Iheaircoulaineil 
intbe^p^  to  TibnUeat  the  same  thne  contrary  to  its  lutaie.  For 
this  reason  the  sound  of  reed  slops  is  more  crying  than  that  of  other 
slops;  but  in  conjunction  with  other  stops  more  sweet;  they  seive  to 
augment  the  force,  particularly  in  the  grave  sounds. 

In  the  pipes  of  an  organ  wliicb  are  called  flute  pipes,  as  also  in 
other  mnd  inslrumails,  the  quickness  of  the  vibralions  depends  par- 
ticularly on  the  length  of  tbe  column  of  air,  so  Hint  we  cnnjiot  pro- 
duce other  sounds  than  those  which  are  iii  (he  inverse  ratio  of  ll:e 
length  of  the  vibrating  parts  of  the  air.  The  kinds  of  pipes  of 
which  WB  are  now  ipeakiog  Itave  a  tfanirenal  plate  cat  ilogme. 


998 


wbioh  ff  edMlanniANtor-pIiig,  agaltutwlibdi  AenirslAeiperpeti- 
dkalnrly,  ia  lint  (lie  sir  which  ia  blomi  into  the  pipe  can  on\j  come 
out  at  a  rtraightalit;  this  air  coining  ont  in  the  form  of  a  small 
plate,  itrikea  against  (be  upper  lip  of  an  opening  called  tbe  moulh, 
and  puts  in  motion  (he  air  contained  in  the  pipe.  The  manners  of 
vibrating  and  the  aeries  of  sounds  are  different,  if  Iheptpeofan  organ 
ia  stopped  alone  atd,  or  if  the  Iwoendi  areopcB,  ve  must  always  con- 
aidet  the  end  into  which  we  blow  as  open,  even  if  it  is  applied  inme- 
diately  lotfae  moatli  as  in  the  Hoin  and  tiampBl.  The  hw*  of  the 
TibratloMat«  exactly  theimieai  t^oM  eftbelongfiadbmlTftntfon 
of  Todt,  If  mie  of  the  ends  of  a  pipe  is'stopped,  the  »{i  makn'itt 
vibrations  as  a  rod,  one  of  whose  ends  is  fixed  ;  if  the  two  ends  arc 
open,  (he  air  vibra(es  as  a  rod,  both  of  whose  ends  are  free. 

In  all  these  kinds  of  vibrations  (here  are  aUemBlelj  condensations 
and  dilatations  of  the  air,  so  that  each  portion  of  air  approachea  and 
recedes  alternately  from  the  knots  of  vibration.  These  small  aUet- 
aate  eoadenuittoiis  and  rarefactions,  as  well  as  the  longitudinal  «• 
cunioDS  of  the  particles  of  the  air,  are  vcr;  uneijnnl  in  difibrent 
places.  Aitbe  kaob  of  vibration  the  coadensatioiu  and  Tarefhctfona 
are  macfa  giealer,  (becaoM  the  adient  of  aH  the  otber  parts  of  the 
air  eoneor  to  ptodoee  thb  eflfect,)  but  the  eicoisions  are  none :  the 
more  a  part  is  removed  frran  a  knot  of  vibration,  the  more  the  con- 
densation and  rarefaction  diminish,  while  (he  excarslons  of  the  par- 
ticles enlarge,  and  at  the  middle,  between  the  two  knots,  or  at  the 
open  end,  (he  excursions  are  the  greatest ;  bnt  llie  con  den  sat  ions  and 
raiclactions  are  none,  and  (he  density  of  the  air  remnins  always  the 
same  as  that  of  the  free  air  which  surrounds  the  pipe. 

If  a  column  of  air  contained  ia  a  pipe  divide  itself  into  any  num- 
ber of  vibrating  parte,  the  leogtli  of  a  part  situated  at  one  open  end 
is  always  (helialf  of  a  part  con(aliied  between  two  knots  of  vibration, 
BO  that  this  last  may  beconsideied  as  composed  of  the  two  parti  of 
the  half  of  its  length,  wktck  will  always  be  contiguous  to  (he  move* 
able  end.  We  will  call  a  part  twiweeti  tbe  two  fixed  limits  a  doiAle 
part,  and  another  part  situated  at  the  open  end,  or  tbe  half  of  a  part 
conlaitied  between  the  two  (ixed  limits,  a  simple  part.  In  inch  a 
simple  pari  Ihn  firrati'sl  coiulimsalions  and  Tiircfuctions  of  the  parti- 
cles take  place  at  one  of  tbe  ends,  and  at  the  oilier  end  (he  greatest 
excursions,  but  no  condensations  or  dilatations. 

The  ffiofl  limpla  motion  of  the  air  conUined  in  *  pipe,  mueadi^ 


CHLAD^I  ON  ACOCmU. 


S99 


'  atiA  h  ttopptd,  it  that  vhere  there  Is  only  a  timple  port.  The  air 
appMhchea  andrecedei  altetiuitelj  from  tbeBtoppedeiid>(figatal7, 

an  J  6  J,  vhlch  peifomu  Ihe.wme  function  bi  ft  knot  of  vibratEati 
in  other  kind*  of  Ttbrationii  Thia  motion,  vhich  prodacca  the  mort 
grave  sound  of  which  a  pipeof  the  tonw  length  is  tmceptible)  ought 
to  be  regarded  as  unity,  as  veil  fbr  the' dlmenaions  andlhennmbM 
of  the  vibratitifr  ports  as  for  the  nomben  of  vibnition^  vhich  are 
made  in  the  same  space  of  time. 

When  the  lieo  ends  of  a  pipe  arc  open,  fur  llic  most  simple  motion 
of  the  air,  a  knot  of  vibration  forms  itself  in  the  middle  of  tlic  pipe, 
to  which  the  too  ilmple  parti  approacli  and  recede  mutually'  (figure 
14,  a  aai  b).  W«atiaQ  have  (herefbr^  at  it  were,  (wo  pipes  equal 
uid  itappettj  where  the  ilratura  of  the  air  in  the  middle,  against 
willdi  tbe  other  strata  of  air  apply  thcmsdvei  from  one  and  the 
other  side,  causes  a  fixed  separation,  Tlie  sound  is  therefore  an 
octave,  more  acute  than  the  fundamental  sound  of  a  slopped  pipe  of 
the  nme  tength,  or  the  same  as  a  stopped  pipe  of  half  l!ie  length  ; 
bnt  the  sound  ia  stronger  and  more  agreeable  than  that  of  a  slopped 
pipe. 

Besides  these  most  simple  manners  of  vibrations,  we  may  form 
Olhen,  if  we  change  the  eiabouchnre  ami  force  of  the  wind,  and 
pnMeipeCudljr  "  the  diameter  of  the  pipe  ia  greater  ai  to  the  tatioof 
ita-Iatigtlt.  - 

Infha  ttemvl  timid  of  a  atoppeipipe  a  knot  of  vibration  forms 
kaelf^  distant  a  third  from  the  open  end  into  which  we  blow,  and  two 
diirdi  from  the  stopped  end,  and  the  air  divides  itself  into  a  double 
and  simple  part,  of  which  the  strata  approach  and  recede  mutually, 
as  in  figure  18,  a  and  b.  We  must  therefore  consider  tlie  column  of 
air  as  divided  into  (Aree  simple  parts.  The  ratio  of  the  quickness  of 
thevihmtioni,  to  that  of  the  fundamental  sound,  is  as  3  to  I,  and  the 
aonnd  isinorescDtebyatweirihor  aHflh  above  the  octave. 

In  thb  •eeemifoiiwlij^itn  open  pipe  there  are  two  knots  of  vibra- 
tbiUi  distant  ftom  the  ends  one  fourth  of  the  length,  and  the  column 
flf  -rirdlriati  ItHlf  into  a  double  part  at  the  middle  and  two  umple 
parte  at  the-  end^  irtikih  ate  equivalent  to  foni  simpb  perU,-  the 
dlviiioit  and  reciprocil  motionsM  nptnented  in  flgnwlfi,  a  aa&b. 
The  lontid  li  to  the  flnt  aonnd  of  the  lame  pipe  .(fignte  14)  aa4 
t»  9,  M  men  acute  by  an  octave.  ' 

IntheMMAMmfo/'  a  ttopped  pqw  (figuie  'l£>,aand&)  t&eieare 
VOL.  III.  iro.  XI.  B  I 


900 


CHLADNI  ON  ACOUETICB. 


tiro  double  parts  and  one  simple,  whicli  is  equal  ta^u  nmpiepaHi; 
tbe  sound  Is  to  llie  rundnmenlal  sou  rid,  (figure  IT)  as  5  lo  I  ;  it  U 
therefore  more  acnie  hy  livo  uclnvcs  and  a  tliird  ;  and  tlie  difference 
from  the  second  sound  (figure  18)  is  a  jixth  major,  or  5  lo  3. 

Id  Ibe  tlnrd  sound  of  <m  open  pipe  (figure  16,  a  and  fi)  two  double 
parb  fbrm  themselTes  in  the  middlC)  and  two  simple  at  the  eudB, 
vhicb  ore eqmnleat  to  tflz  ifmpU  parb:  the  Bonad  ii  to  the  fint 
sound  (figure  14)  aa  6  (o  S,  oi  more  acute  b;  a  twelllbi  and  to  the 
second,  (figure  15)  as  6  to  4,  or  more  acute  by  a  fittb. 

These  explanations,  and  the  figures  17, 14, 18, 15, 19, 16,  nhicb 
represent  the  alternate  molious,  may  aufiicc  to/:0Dvey  an  idea  of  the 
other  manners  of  vibratioji,  where  a  pipe,  one  of  whose  ends  is 
(rtopped,  divides  lleclf  always  into  an  unequal  number;  andapipe, 
of  which  the  two  cndii  arc  open,  divides  itself  always  into  an  equal 
number  of  parts.  We  see  also,  that  the  sounds  are  always  in  the 
ratio  oflhe  numbers  (or  inverse  lengths)  of  thoip  parts;  confqKnUj 
all  the  sounds  wbich  we  can  produce  from  the  tame  jfife,  or  ii|>qtt 
two  pipes  of  the  same  length,  according  as  the  end  info  vhioh  we 
blow,  is  stopped  or  open,  will  be  if  we  cooaider  Vl  the  lowest 
sound  of  the  finger  board,  (which  nc  express  by  Ut  I)  as  the  funda- 
mental sound. 
Nnmber  of  Tibrations 

of  gjniple  pirii. 

Sonndi  of  a  stopped 


2 

4 

5 

7 

8 

9 

10 

Ut  1 

Sol  3 

Mi  3 

Utg 

mi 

Sola 

Ut4 

m 

the  ydad  instnuoents  commmtly  in  use  fidlow  the  •amelawaaa 

pipes,  of  wUch  the  two  CDda  aie  open. 
The  Bonnd  of  pipes,  if  Um  manner  of  Tibr<UiDg  ia  the  gani^  tlepai^ 

on  the  length,  density,  and  elasticity  oflhe  fluid  they  enclose. 

If »  expresses  the  number  of  the  vibrations  which  belong  (o  eacb 
kind  of  motion,  I  the  length  of  a  column  of  vibrating  air,  g  the 
weight,  p  (be  elasticity  equal  to  tbe  pressure  of  the  atmosphere,  and 
k  the  height  from  which  a  body  falls  in  a  second,  tbe  Dumber  of 
Tilwations  in  a  second  will  be  s^=>i\/'s  h  p 
Ig 

The  pressure  of  the  atmosphere  may  be  determined  by  the  beijU 
of  the  meicniy  io  a  banxneler. 


CIILADNI  ON  ACOUSTICS. 


SOI 


If  Ibe  specific  weight  of  the  mcrcDiy  is  to  tlint  of  tbe  air  u  m  to 
k{  and  if  a  exproweg  the  bngbt  of  the  merctuy  la  tbe  barometer, 


From  wiience  it  follows  that  llic  sounds  of  pipes  are  En  the  tiiTer«e 
ratio  of  [heir  lengths,  if  other  citcmnslanccs  nrc  tlic  s^iiiic. 


Thediametcr  of  apipc  docs  not  determine  llu'soiuu],  but  In  a  pipe 
of  grea.1  diameter  the  sound  can  be  produced  vvilli  nunc  luicc. 

On  the  roost  elevated  mountains  the  sound  of  a  pipe  will  be 
the  same  as  at  Ihe  snrface  of  the  mb,  twcauscwfailep  and  g  increase 
or  diminlifa  eqnallj,  thejr  alwajis  follow  the  same  ratio. 

The  qniokneti  of  the  vibrations  can  onl^  be  changed  hj  the 
cbangea  atlbe  nrilo  between  ffie  elastidt;  of  the  air  and  its  densilj. 
If  the  air  hu  a  dISbrent  specific  gravilj  from  a  mixtare  of  dlRinenf 
Uads  of  gai,  or  from  variations  of  heat  and  cold--  the  pressure  of 
the  Btmotphere  lemalning  the  some,  its  ratio  to  its  vcight^  or-^ 
(ttbich  we  inajr  call  its  ipaj/ie  ej^il^d^)  will  be  obu^ied.  Conte- 
qneollr  a  pipe  will  give  more  acute  aouuda  when  it  it  hot  than  whan- , 
itiscold. 


KAEhZEL'S  METRONOME. 


UkeMmefalametoonndfalliatwe  hare  cobng  letgobj^e 
deaifg  yetBTemtertrined  toapeak  ofllie  ntOitjraf thi«  IprtraineDt,  and  . 
to  nte  oar  mneil  endcanrar  (o  extend  futlliei  the  kuovledgo  tiOta 
imporlant  nrricea  it  ii  capable  <rf  rendetiiig  to  touiaaiid  mnwriini  i 

(o  young  ones  etpeciallj,  by  Rffibidii^  Ibem  lUi  iafleziUe  moDitocti 
locorrccttime-kecpingduring their liDiinofpiaDtlce.  But ttie yeariit 
Las  b«:ri  bcrorc  tlic  public  induced  as  to  coiuider  tt  si  not  hBTiiig  im< 
medintc  clainis  upon  as  in  point  of  nonllj,  and  ai  having  already 
made  contideiabb  advanccB  tonardi  univenal  adaplion.  Sal  tto 
are  at  length  led  to  believe  it  may  not  be  quite  usctesa  to  diatr  tlie . 
geneiut  attention  more  slronglj  touards  it,  hy  the  tact  that  cora> 
poaen  are  still  too  oilen  content  with  marbing  their  notes  onlj  vith 
the  common  tenga,  and  to  leave  the  axecotitm  of  tbem  to  chance  or 
dtiereUon,  aNbongh  It  is  now  complaMj  tridiin  titdr  pomi  to 
define, wfth  thenlcest  pmHsfoiiitbdrowDintetitlonsaB  tatkab-per- 
hapBthefintandmoatimpartaot  part  ofexprCHion,  It  ia  also  now 
more  mnneBtoi(itbanenr,beca)uc,in  the  progies)  of  art,  the  English 
uutmmentaUtt*  ars  nidfo  have  accelerated  tbe  time  of  every  thing 
fbey  jday,  beyond  the  tuagp  of  otiier  nation*.  Mb.  Keiibwetteb, 
in  knding  Bbethoves'i  and  Haydn's  symphooiei  at  tbe  Philhar- 
monic Concert,  we  undeisland,  insUlcd  strongly  upon  their  being 
played  ajOTter  Aan  tbat  onAertm  bad  boen  accuitomed  to  perform 
■lhem,andvabayfbMad  Toy  iddu4Tei7  able  miuiciana  mettioB, 
Ihatttengafornpidily  b  of  late  bwome  u  great  ai  aonietimei  la 
perplrar  eren  flrst-tste  WoUniiti,  if  they  happen  not  to  t>e  thorooghly 
Bcqiiainted  with  the  passage.  These  are  new  pfasnomena,  which 
may  assist  in  enforcing  the  necessity  and  the  utility  of  a  definite 
ineasure  of  time ;  but  we  look  qpoo  both  to  bare  been  established  by 
(he  Toluntary  testimony  of  the  most  celebrated  composers  in  Europe, 
appended  to  Mb.  Maelzbl's  original  prospectus,  especially  as 
tbey  pledged  Ihenuehei  to  mark  their  compositions  according  to  the 
scale  of  the  Metronome.  We  aie  foit;y  to  obiem  Out  piomiae  it 
bommt  bat  ill-kept. 


DigilEzed  by  * 


Variouattnafla  Imilbtn  loagmdetokveatanennofftiAig 

s  -ooBnitHi  ataadard  foi  the  mtMorement  of  Ibe  several  times  osdga- 
ed  to  mnsical  coinpiMitions.  Dft>  Cbotcb  propoied  Ihe  simple 
expedient  ofa  pendulum,  which  iifAe^iWnc^pfelo  which  Mb.  Masl- 
zEii  applied  hit  raechaniam.  But  wbile  ve  are  npon  this  part  of 
tb«  subject,  Jie  cannot  omit  to  nolicc  a  most  ingenious  conliiraiice 
Mr.  Hbnby  Smast,  of  I^ondon,  wlio  employed  a  barrel  Mmewhat 
similar  to  that  of  an  organ,  irbich  in  its  rotation  lifted  small  bam- 
nwn,  and  thus  hia  iRrtrament  gave  simoUaneonslj  a  visible  and  an 
audible  beating  of  every  poaiilde  tliTiaioa  of  the  time  of  one  bar,  one 
hasuno  g<Mug  ia  inliiiM%  inotba  in  cratcbet*,  another  fn  qnaverv, 
&x.  &c. fte.  ThiaifBiliytte&i'tlie  moat  eomplete Metconome for 
the  pDipoKi  of  iottmctton  !n  time,  but  the  cKpence  of  ita  coHtoiic* 
tion  prevented  ill  general  adoptkm. 
"  Mft.  UtBLZar.'a  Mdronome  consists  of  a  portable  little  obeli'slc 
.  or  pjramid,  tcarcely  a  foot  high,  Ihe  decorated  exterior  of  which 
renders  il  an  oroamental  piece  of  furDiture.  lis  interior  contains  a 
■imple  mechanical  apparatus,  witli  a  scale  lesenibllng  tliat  of  a  tiier- 
mometer.  According  to  tlie  numlicr  on  this  scale  Ihe  intlcx  ia  set 
to,  the  audible  beats  pimluced  nill  be  found  to  cmbiacc  tlie  whole 
gradation  of  musical  time,  fioni  the  slowest  edagio  to  the  quickest 

The  metrnnamlc  scale  is  not  borroircd  from  the  mcaiuret  of  length 
peculinr  to  any  one  country,  but  u  Jbmckd  on  tie  divituii  of  tmte 
inlo  minutes.  The  miimtc  being  tbiu,  U  it  Were,  the  element  of  the 
metronnmic  scale,  i(s  divisions  ate  theiebjr  Kndeied  intelligible  and 
applicable  in  every  country:  an  unroertafitandard aeaiurefor  pmi' 
ad  lime  is  thu<  obtained,  and  ill  correctiuti  may  be  piovedat  aU 
limea  by  compujion  win  « ilop-t»ldt. 

DIRECTIONS  FOR  USING  THE  METRONOME. 

At  the  top  or  the  obelisk  is  a  small  lid,  with  a  hinge.  On  lift- 
ing this  lid,  lh[i!itccl  pendulum  is  disengaged  from  its  place  of 
rest.  A  imall  key  under  tlie  upper  lid  tils  a  bole  in  the  side 
of  the  obelisk,  and  with  it  the  clock-woik  is  wound  up  and  Ibc 
pcndalum  made  to  move,  lis  motion  ma^  bo  stopped  at  plea- 
sure by  again  confining  the  slcel  rod  within  its  place  of  real  above- 
mentioned. 

1.  A  sliding  weight  is  attached  to  the  rod,  or  steel  pendalnm: 
the  higher  this  weight  is  shttited,  the  ilower  will  be  the  vibiations, 
and  -dee  ■cersa;  so  that  when  the  weight  corresponds  with  the  niuibn 

.  50,  the  vibrations  will  be  the  slowest  possible ;  at  No.  160  tbey  wilt 
be  the  quickest. 

2.  These  nam  ben  have  all  n&KWX  to  a  mbuOe  of  lime;  vbi. 
vlmi  Ihe  weiglU  it  flued  It  5(V  fi%  bMU  CNT  Ikki  wiU  be  ob4dned 


DlgiBzed  by  Google 


3M 


maelzel's  uetronoue. 


in  each  miiia,le;  trhen  at  60,  sixty  bcals  in  a  minute  (i.  e.  secondi 
precisely);  when  at  100,  ooe  hundred  beati  inanintile:  any  itop- 
«alch,  therefore,  will  show  how  far  the  correctneu  ofthe  Metronomo 
may  lie  depended  on. 

S.  Thednplicaleaof  the  nnmbera  on  theBcafennrataMpnciiely 
dovbU  degree  of  velocity : — 1  bus,  if  fiO  be  the  proper  Diunbei  for  %■ 
minim,  100  is  the  number  for  the  crotcheta  6)Me  MMmniaBaff ;  if 
CO  serves  for  crutchels,  180  espretsn  the  quavera  in  Ute  tame  moof 
mrnl,  &c. — T[ic  iinmbai  omitted  on  the  scale  have  been  fbnnd  prac- 
tically uDiiccciiBry. 

4.  The  composer  is  best  able  to  judge,  from  the  nature  of  his 
raos^ment,  whether  to  mack  its  time  by  minimi,  cratchels,  quavers, 
&c.  Geiieinlly  speaking,  it  will  lie  foiinil,  that  in  adagioi  it  is  most 
convenient  to  maik  the  line  on  the  Mrtronome  hy  quavers,  in  an- 
dante! by  crotchets,  in  allegros  by  minims,  ami  in  prisCos  by  whole 
bars.  As  often,  however,  as  (he  case  may  admit  of  bO  ilinng,  it  is 
desirable  that  the  pendulum  bIloiiUI  be  mailt  to  strike  the  integral 
parts  of  a  bar,  just  as  a  master  would  beat  or  count  the  time,  t.  e. 
Id  i)  it  and  |  time  the  rod  should,  whenever  ponible,  beat  ^,  or  one  crotcbeL 


in  }  Itme,  which,  according  to  the  'present  system,  would  be  called 
an  allegro .-  let  the  weight,  by  way  of  trial,  be  placed  against  No.  80 ; 
and  two  or  three  bars  of  the  movement  be  played,  to  ascertain  whe> 
ther,  at  that  number,  each  beat  falls  in  with  the  degree  of  quickness 
desired  for  one  minim  or  two  crotchets.  If  it  beat  too  slowly,  shifl 
the  weight  downwards,  until,  by  two  or  three  trials,  a  place  (sup* 
pose  at  Si)  has  been  found  for  the  weight,  at  which  the  pendulum 
beats  the  minim  in  the  precise  degree  of  quickness  contemplated  Xoi 
the  doe  perfbimaucc  of  the  movement;  it  being  well  understood, 
Ihst  In  this,  as  in  every  other  case,  each  BiNr.i.B  beat  or  tickformt  a 
part  of  the  intended  time,  and  is  to  be  eouated  at  tuck  ;  but  not  Ae  too 
beats  produced  by  the  motion  from  one  side  to  the  other," 

Sucb  is  the  structure  of  this  instrument,  which  we  cannot  foo 
highly  commend.*  Nor  can  ive  cloee  this  article  without  eoiIeaTour- 
ing  again  to  impress  ujioii  composers  Iiow  much  (heir  works  would 
gain  and  wliat  facili(icii  uuuld  be  extended  to  the  performer,  by  their 
affixing  the  times  according  to  the  beat  of  this  instrament.  Mn. 
HABtZELbss  published  a  lableof  times,  as  marked  by  English  and 
Ibrelga  compoaers,  wbich  ne  had  Inteiulcd  to  annex ;  but  we  find 
tbemlo  differ  so  extremely,  even  inUie  Tclbdtieg  appended  by  (he 
same  composer  to  the  same  tenna,  that  attanscript  woldd  confound 
rnllit  r  lljan  clear  the  apprelientioii  of  the  stndent.   Pass,  for  in* 


 i,  01  one  qonar. 

.  suppose  it  is  desired  to  lime  a  noTement 


S.  This  beinf 


*  Would  not  the  intrvdncfion  «f  some  inethinlcal  means  of  indicat&U  the 
retaraofUwbH'liipmaitCirelddceai— Asn^beUlbrbstance.'  ' 


HAILEEL'B  HBZUHmilE. 


ttancet  Dwlgni  boUl  so  and  80  of  (lie  scale  to  tb« minim  UiHegm 

modemlo;  Clbnenti  coniideTS  50,  Chebubiki  79, 113,  and  126, 
ss  allegro.  Nothing  can  more  strongly  shew  the  necessity  for  a 
more  absolute  definition  of  time  than  these  discrepancies.  There  u 
also  a  little  Gennan  publication,  which  directs  the  fine  of  many  of 
Beethoven's  sjmphoiiies  and  qaatletls,  according  to  the  scale  of 
(he  Metronome.  But  this  affiiids  only  a  partial  view  of  a  subject 
which  reqnirea  to  be  settled  abaolntely.  It  sppeara  lo  be  an  object 
worthy  the  coosideration  of  the  niilbarmoiuc  Society  of  London, 
who  migh^  in  coojanGlion  vitli  the  piofenon  of  tlie  Contetveloriei 
in  France  and  Italy,  euil/  adjiut  Ibo  lemu  of  tte  necemry  im* 
[noTemeiit. 


TO  THE  EDITOR. 

Sib, 

T  ■B  fbUoni^  aiticle,  on  the  sfnictare  and  tiiitory  of  tbe  noblest 
of  instmmoQta,  the  Organ,  is  translated  from  a  French  work  on  (be 
finearts.  ItconTejBacoiniderablebodyof  iofbrmalioo  concerning 
the  rise  and  pcogres  of  the  invention,  and  may  Krre  as  a  snfficient 
sketch  for  tboie  who  are  not  deeply  intereiled  in  antlqaarian  re- 
searches, and  at  tbe  tame  time  give  a  dne  to  inch  of  your  readen 
as  nay  ideure  to  go.  more  cmnplelely  into  the  snbjeof  •  Such  as  it  is, 
1  tend  it  yon. 

MART. 

JONB  1,  1881. 

OsGAX.— A  wind  inttrnmentr  mperioi  to  every  other  from  ila 
variety,  compaM*  and  power.  It  it  cnnposed  tS  ins»y  pipes,  dt 
vided  into  rowi,  and  played  by  meaoa  of  keye.  The  organ  appeari 
peculiarly  consecrated  to  divine  woisbip.  There  is  in  its  composi- 
tion an  infinity  of  curious  parlii,  loo  numeroui  for  a  detailed  descrip- 
tion, we  shall  Iberefure  only  mention  the  principal.  The  common 
key  board  in  large,  as  well  as  in  cabinet  organs  used  for  private 
rooms,  ky  more  than  one,  row  of  key%  and  ii  compowd  of  thirteen 
■ooiida  in  the  octate.  It  ia  (ha  same  tn^haj  board  of  (he  >pin- 


Digilized  by  GoOgfe 


906 


OH  osacm. 


nfltt  or  KarpsidioRl.  Tlie  vind^hest  ts  a  coSer  closely  corned  tHIi 
bather,  and  receivei  the  wind  prcTiontly  to  distribution  aniong  the 
pipes.  The  iuterior  of  the  wiiid-cliesl  is  lilled  with  small  pieces  of 
nood,  called  suckers.  The  suckers  stop  tLc  bottoms  of  the  pipes, 
and  onljF  goffer  the  vind  to  pass  when  the  kejs  answering  to  them 
are  put  down.  The  feet  of  the  pipes  are  supported  by  a  plank, 
called  the  mattnus,  haviog  holes  pierced  in  it  corresponding  with 
Ibe^  of  CBchpipa.  There  is  also  another  plaak,  which  serres  to 
keep  the  p^ea  upright  and  firm  in  their  ^eea.  The  wind  passed 
into  the  pipca  proceeds  from  bdlont,  the  nwnbet  of  vhleh  ii  in- 
detenninate. 

The  registers  arc  a  species  of  keys  or  bars  which  serve  to  open  and 
■but  the  holes  of  the  grooves  communicating  with  certain  pipes ;  and 
by  this  means  the  musician  augments  or  diminishes  the  number  of 
slops.  By  slops  are  understood  certain  pipes,  wbidi  produce  soundi 
of  vaiious  kinds.  PipM  an  gcauaD J  nmd«  of  brass,  pewter,  lead, 
or  wood ;  ibcse  latter  are  squai^  altbongh  Ibey  may  be  constmcted 
cylindrically. 

There  arc  pipes  in  which  are  placed  reeds,  and  to  wbichana&Ead 
Bprings  in  order  (o  raise  or  loner  the  tone,  as  it  may  be  mil  laiij 
The  slops  of  (he  organ  are  divided  into  simple  and  cooipound.  Tba 
union  of  several  of  the  slops  constitutes  the  compound;  the  chief  of 

which  is  called  Ibe  full  organ. 

Tlic  small  organ,  usually  placed  at  the  bollora  of  the  large  one,  u 
called  the  positive.  The  compass  of  the  organ  is  generally  ^at 
four  octavti. 

The  organ  i&  a  niosl  important  instrument;  its  invenlion  and  use 
being  widely  spread,  have  contributed  insensibly  to  bestow  a  new 
direction  on  mnsie.  Originally  the  word  organum,  from  whence  organ 
is  deriied,  had  a  very  extended  acceptation,  and  designated  ail 
iulrtuHnli^  vb^oftt  tbeii  use*.  By-  degrees  it  was  applied  solely 
to  mssioal  iartniMiiU)  it  was  aQerwatda  eoafncd  to  wind  instni* 
laeiiti,  and  at  la«t  Ihe.Toid  orgaa,  or^^mmn,  oolyslgBUed  tboTig 
nificeat  instnineot  now  bearing  the  Bane  of  OigaD.  Tlia  Arie  of! 
Pan,  the  syrinx  or  pipe  of  reeds,  doubtless  gave  the  first  idea  of  the 
organ.  Il  must  soon  have beea observed  thetlberewereolher  means 
of  producing  sounds  from  a  pipe  than  by  the  mouth.  It  must  also 
ka«  been  diie«T«nd  that  the  «k  might  be  cooftted  in  dosv  cavitiei 
Md  alkrwards  emitted  at  pbaiua  b;  neau  oS  opentBga  irf^diarait 


0\  OIIGAXS. 


307 


-tint.  TIi'b  Oiieomy  was  nppplicd  lo  unilril  pipes  like  llic  syrinx, 
or  to  a  Simple  flutci  and  gabsequeally  a  species  of  bag-piiiu  was  in- 
vented. Bf  punning  this  course  tliey  could  nut  Tnil  lo  arrive  at  an 
intU'uinrnt  ttttmgXy  Tesemblin^.our  organ.  Instead  of  a  Iciilhcrn  bag 
tiiBj'  usd  a  wooden  case  (o  enclose  llie  irind;  above  thit  tbey  placed 
pipa,  the  opeaing  of  wblch  \m  closed  incben,  vhidi  contd  be 
opened  or  abut  at  will,  in  order  to  prodocc  the  cmbuachore  of  anj 
one  pipe.  The  descriptions  left  by  an Ihors  ofdifferent  ancient  mnsi- 
cal  inslrnmenls,  logeliicr  willi  their  TppreBOnlationa  on  several  monu- 
laenls,  prove  that  (he  niicienls  were  occupietl  al  diHcrcnl  iveriods 
with  these  exjicrinienls.  For  some  lime  they  were  constantly  em- 
ployed in  seeking  the  best  means  of  inlroihmiii"-  air  into  the  pipes  of 
the  instrument  ire  call  on  organ.  TUey  cmploved  the  f:ill  of  water, 
pumps, atcam,  bellows  of  dilferent  kinds,  &c.  In  these  exi)eriinenls 
-water  was  laort  rrequenlly  the  cause  of  the  motiun  by  ithioh  the 
wind  was  iritroduced.  They  at  Inst  sloppeil  al  wiiul  bcllowa  set  in 
inotim  either  by  water  or  by  human  strength.  The  application 
ofthcM  Tarioiu  means  fau  distin^iihed  two  kinds  of  organ;  that 
nwved  by  water  wai  called  Hj-draolic,  that  by  wind  Pneumatic, 
ahheugh  there  was  no  real  difference  in  the  principle.  It  is  only  by 
means  of  air  that  the  pipes  can  produce  a  sound.  Whether  llie  air 
be  introduced  into  (he  pipes  by  water,  human  lahour,  or  niiy  other 
machine,  il  comes  (o  the  same  point,  and  t\u;  diirereiice  is  reduced  lo 
this  qacstlDn — which  mode  of  applying  the  wind  is  the  cablesl! 
Theae  dbtlnctlons  and  the  different  meanings  affixed  to  the  wurd  iir- 
grnmrn  havscansed  great  confunon  in  the  history  of  this  imporbnt 
IdilniDieiit.  When  an  author  spoke  oforganam,  il  was  frequently 
imaged  he  treated  of  an  organ,  when  he  was  alluding  to  some  other 
musical  inilmment  Tberewaathesamembtakevhenthediffference 
betweu  (be  bydrsullcon  and  pneumatic  organ  was  the  subject  of  dis- 
cussion. These  two  instrufflenls  weregeuftrally  eonfounded.  These 
diBerences  have  thrown  great  obscurity  on  different  passages  of 
ancient  authors  relaliiigto  this  Instrument.  It  was  thought  by  some 
that  llie  Hebrews,  Greeks,  and  Romans  were  ncqiiainled  with  the 
organ  in  its  greatest  pcrfeclion.  There  are  indeed  sufficient  imiafs 
that  they  possessed  an  instrument  with  pipes,  but  it  is  evident  that  it 
differed  cKlremdy  from  our  organ.  This  difference  is  ably  pointed 
out'by  a  Monk  in  the  congr^tion  of  St.  Sf  Aun.  Dom  MAnriir, 
in  bis  prefaee^etititled"  Explanations  of  several  lingolar  rematoi  of 

VOL.  III.  XO.  XI.  1  •  . 


antiquity,  which  have  relation  (o  religion,"  says:  io&cttho'by- 
dranliciMi  wasanaBmaU  whatorgana  aieonahiigescalei  tbenca pro- 
ceeds tli«  nane  they  bear,  lor  neithec  Greek  nor  JLattn  aatiion  epaalc 
of  the  Iiydranlicon  vithout  designating  it  bj  the  geoeral  and  indefi- 
nite term  orgmum.  I  can  even  perceive  Ihey  were  often  ignorant  of 
its  sduclurc ;  I  wi^ti  therefore  to  know  if  they  can  Qrst  follow  the 
progress  oftbehjdraul  icon  up  to  the  organ,  and  aflemarJs  descending 
from  the  organ  to  the  hydraulicon,  explain  the  medianisnt  of  that  in- 
strument. It  Hcems  proved  that  bydraulicons  were  on  a  smaU  what 
the  pneumatic  are  ona  large  scale.  Athenavs,  in  the  cliapter  where 
lie  treats  of  musical  initruoients  also  spealu  of  the  hydraulicon,  and 
in  a  way  which  proves  that  it  mt  unall  enoiq^  to  be  tnuiiported 
iront  [risoe  to  place  like  tlw  poTtable  hand  oigaui  of  the  Sanoyanls. 
The  same  passage  infoims  in  that  the  people  were  then  as  mnoh 
charmed  bj  it  as  they  now  are  when  an  instrumontof  thb  kind  is  un- 
expccteilly  heard  at  a  fair. 

TJic  most  ancient  notice  taken  of  an  instrument  of  any  size  to 
whicli  bcllotvs  were  adapted,  and,  according  to  some,  keys  liketriie, 
19  to  be.  I'iniiiil  ill  tUc  .-iiiihology,  and  was  first  quoted  by  Do  Cance, 
in  his  Glo^s.-irliiiu  mcdi.-c  ct  inlimte  bttnilatis,  on  the  word  orgoaum, 
and  since  by  several  otiiers.  1(  is  the  description  of  an  ot^a,  said 
to  have  been  in  the  posscMion  of  JiruAX  the  Apostate  wbo  lired 
tbcfbnitlt  cealnry.  Do  CAtTOBCODcliided  that  it  wasnot  an  hy> 
drauUc  instrument,  bnt  that  it  vary  mneh  resembled  the  modern 
pDOUoattc  organ.  Nevertheless  the  leathern  bag  appended  to  it 
were  not  our  modern  bellows,  and  the  introduction  of  the  wtud  into 
the  pipes  was  not  likely  to  be  effected  by  keys  as  in  our  organs. 
The  description  CAseiODoatts  has  given  of  an  organ  in  his  explana- 
tion of  the  150th  psalm,  is  more  applicable  to  a  small  hydraulicon 
than  to  our  modern  instruments.  The  barbarism  which  spread 
amongst  the  people  of  Europe,  oiler  the  tune  of  Cassiodobcs,  was 
rot  only  deatrncttve  la  the  arts  Bnd  sciences,  but  also  to  many  of 
the  Torks  of  art;  and  It  seems  that  the  o^n,  such  a*  it  then  via, 
shared  tbe  same  fote.  What  sevnal  oathors  hare  (ud  apon  the  U> 
cient  use  of  organs  in  Christian  cbnrohes  is  not  soffiolently  eri»- 
blished  by  proof.  Thos  when  Platiha,  in  his  Lives  ai  the  Popci^ 
advances  that  Vit  ALIEN  1,  ordered  tbat  the  organ  should  accooi- 
pany  tlie  hymns  of  the  chnnA,  It  appears  that  this  word  organ  or 
orgMum  rather  ngnifies  other  inslraaents;  It  does  not  wem  Ibal 


OK  Q^AK9.  309 

at  thii  «pocti  llteM  Miiited  a  real  oq^n  in  Ihe  Wett  tht  Rnl  true 
indication  (o  be  found  of  an  organ  is  dated  about  the  eiglitli  ci^ii* 
Uttyi  lowards  (hit  period  ibe  Greek  Emperor  Constantine  Co- 
pKOitrHua  presented  an  otgan  to  Pepin,  King  of  France. — 
EdiNHARD,  in  his  aonatiof  KiMQ  Pbpih,  speaks  hi  ilje  year  755 
of  this  fact,  but  be  empla;*  (be  mid  organa,  ^vliidi,  h'Sm-;  in  tlie 
plural,  it  laay  be  retsonabl;  iniagiiied  (bat  liif  dm-.^  nut  spi-:^k  uf  an 
organ,  buiof  aereral  mniical  iiutiumeiils,  anU  Ibc  fuUoiviiig  auliiors, 
Makiakiii  ScotuI)  Lahbbbt  o'AionArFEiiBouRa,  and  Atbh- 
navt,  were  Iberefore  in  emu  vhcn  Htsiey  declared  it  to  be  an  orgao. 
Tlie  deioription  given  by  the  last  of  these  authors  proves  that  he  had 
sucb  an  organ  in  vieir  as  nere  Itnown  in  bis  own  time  wltli  pedals, 
bellows,  &c.  During  llic  reign  of  CiiAaLKMiGNG  organs  arc  men- 
tioned as  having  been  brouglil  fiom  Greece  into  Ihc  itestcrn  parU  of 
Europe.  According  to  the  pompous  dcscriplioii  giiuji  of  this  in- 
■trumcnl  by  a  Monk  of  S.  Galles,  in  \m  tecunil  bauk  of  his  uork 
on  liie  Mililarj'  lixploils  of  Chaiii.esiagne,  it  woulil  tc;ill/  seem 
of  some  importancii ;  butifitbad  been  as  complicated  as  the  liislo- 
fian  describes  it,  itroajbe  imagined  that  the  artitla  ot  .Uuablb- 
■UOHB  would  not  so  easily  have  succeeded  ia  imilatuig  it,  parlicu- 
larlj  after  considering  it  so  Euperfiaiallj'.  If  tbe  Monk  of  St  Galles 
hail  said  wliat  became  of  IJiis  organ,  how  long  it  existed  and  by 
wliiit  accident  it  was  lost  or  deslrojcd  it  might  liavc  thrown  some 
light  on  the  subject.  Walafris  S^rabo  gives  a  description  no 
less  emphatic  ofaa  organ  whicli  existed  in  the  ninth  century  in  a 
church  at  Aix  !a  Chapelle.  The  softness  of  its  lone  he  asserts  to 
have  caused  the  death  of  a  female.  Perhaps  this  nas  the  utgan 
buillbythc  artists  of  Cuahlehagnb  in  813,  upon  the  model  of 
tliatbroDgbt  om  by  the  Greek  Aoil»«»don>  It  appears  (bat  lhi« 
Greek  organ  was  not  intended  ai  a  piesent  to  the  Empeior,  but  to 
bo  employed  in  their  divine  service.  In  order  to  have  transported  it 
diUi  ealily  from  Constantinople  to  Aix  la  Chapellp,  In  have  cxhi- 
lliled  ,it  in  that  town  amongst  other  curiosilie.T,  and  allcrnards  (o 
allov  it  to  be  heard,  it  must  have  been  very  small.  If  it  were  neces- 
sary to  dismount  the  smallest  of  our  organs,  and  carry  it  as  far  as 
from  Constantinople  to  Ais  la  Chapclle,  it  would  at  least  take  scvc- 
lal  months  to  ie>mount  and  fit  it  for  playing. 

After  tbe  lime  of  Cuarlekaohe,  the  organ  u  first  mentioned  in 
the  annalt  of  X>onii  lb  Dbbomkaire,  bjr  Eginhabd,  In  A 
■  s2 


Digiiized  by  Google 


310 


OS  ORGANS. 


Prcsbyler,  named  Gborgius,  airired  from  Venice  at  the  Court 
of  tlie  Prince,  and  booated  of-  bii  abilily  in  maJdng  Mgani.  The 
Emperor  sent  him  to  Aix-la-Ghapene,  and  gave  orden  that  he 

shonld  be  furnished  with  the  necessarj'  raaleriah  for  constracting  an 
orgnn.  Niget.los,  an  liialorian  of  (lie  ninclecnih  cenlury,  in  de- 
scriliiiig  the  lite  ami  ncliona  of  Louis  t.t;  Dkbosnaire,  in  an  ele- 
ginc  pnem,  printed  in  llio  Saiplorcs  lialiri  de  Miirnlori,  also  speaks 
of  tliie  organ.  Don  Bcdos  dc  Celled,  in  bis  art  of  building 
or^ns,  says,  that  it  was  an  liydraulicon,  according  to  a  passage  of 
EoiSHArtn,  in  wliicli  it  is  designateil  by  the  word  hydmula,  Egih- 
UARDndds,  tlint  it  was  only  employed  in  the  palace  of  the  Emperor; 
it  therefore  differed  from  that  spoken  of  by  Walapkid  StbabO) 
vrbich  he  expteni;  says  vaa  in  a  church  at  AiK'1a<^apelle.  Don 
Banog  db  CaLLBt  thiiihs  Ihit  was  the  first  organ  having  belloKS, 
and  for  nhich  water  was  not  employed. 

It  will  easily  be  conceircd  that  the  employment  of  water  in  a 
church  must  have  been  attended  with  great  inconvenience,  and  pro- 
bably thii  was  one  of  the  reasons  why  organs  were  not  oAener  used  in 
churches ;  besides  which,  the  water  must  have  been  very  pemunoot 
to  the  structure  of  aa  organ,  on  accoant  of  tiie  oonitant  hnroidtly 
attending  it. 

In  the  latter  part  of  the  ninUi  ceatuiy  the  Getmant  ponemd 
oigani,  and  weve  able  to  conatniot  and  plajon  tbetn;  bat  ithaanot 
bera  ascertained  how  they  acquired  the  art.  Zarlimo,  in  bis  Sop- 
plimenti  Musicalc,  book  8,  p-  S90,  after  having  treated  of  the  organ 
of  the  aticierils,  says  lhat  tome  autliors  imagine  the  pneumatic  organ 
to  have  been  (irst  used  in  Greece ;  that  front  thence  it  passed  into 
Hungary,  aflerwards  into  Germany,  and  subsequenlly  to  Bavaria. 
Tbey  pretend,  continues  ZAnLiNo,  to  bave  seen  one  amongst  others 
in  the  cathedral  at  Munich — al!  tbe  piiKJs  of  wbich  were  of  box,  of 
'  a  single  piece,  of  tbc  size  of  our  metal  pipes,  end  like  them  of  a 
cylindrical  form.  They  think  it  was  the  oldest  o^an  not  only  in 
Bavaria  but  in  the  world,  on  account  of  its  size  end  strnctore.  It  !s 
tmetiiat  this  passage  does  not  determine  the  period  at  which  they 
pretend  to  have  seen  this  organ  at  Munich ;  but  if  lowardi  the  con- 
elusion  of  the  ninth  century,  as  it  is  sufficiently  proved,  they  sent 
from  this  German  province,  organs,  organists,  and  organ  builden, 
into  Italy,  it  is  natural  (o  suppose  that  for  some  years  before,  they 
tovSA  Qot  have  been  ignorant  of  the  ait  of  boildiiig  orguf  and  play 


Digilized  by  Coof'Ir' 


OH  ougahs. 


311 


ing  on  tham.  In  the  fifth  book  of  tlie  Mbcellasea  of  Baluze,  thera 
ns  letter  from  Pops  John  Tllllfa  to  Binnoit  ds  FKisittouB,  in 
BBvarii,  prating  bin  to  lend  him  into  Italy  b  good  organs  vilh  ■ 
BkilfalBrtiittotepairandpIayantt.  Doir  Beboi  bb  Cbllei  thinb 
Uikt  Oboboivi,  of  Tcntce,  who,  unJer  Louis  I.B  DeBONKAiREi 
baiU  the  organ  at  Aix  la  Chapclle,  might  haye  had  scholars,  by 
vbom  the  ait  of  coiuttucting  organs  tras  spread  througliout  several 
of  the  German  provinces ;  and  he  nttributes  to  t!iis  circamslance 
the  fiict,  (hat  Qermanf  had  thirty  or  forty  years  before  (lie  death  of 
Lovia,  sent  oi^nists  and  organ  builders  into  other  countries.  This 
author  nevertheless  imagines  it  to  have  been  an  liydraulicon,  as 
we  have  already  nid,  and  we  are  now  treating  of  pnenmatic  orgaai. 
Tbcn  »  DO  donbt  bat  that  pneimulio  oigani  ezuted  looiiei  tkm  it 
generally  supposed.  Tbey  were  of  limited  compass;  had  few  pipeH) 
perhaps  only  a  single  register,  and  probably  resembled  those  small 
obsolete  or^ns  long  used  in  churclies  and  sciiuols,  under  the  titles 
regale,  poiitif,  ami  porlalif.  If  tlie  pipes  of  the  organ  at  Miinicii, 
of  which  we  have  been  speaking,  were  of  box  and  cut  out  of  a  solid 
piece,  the  instrument  could  not  have  been  of  very  considerable 
dimensions. 

Mbbienhds  ascribes  a  more  ancient  origin  to  the  small  pneumatic 
or  poaittve  organs :  he  relates,  in  the  sixth  book  of  hb  Uaifenal 
Banapmy,  p.  387,  that  the  celebrated  Navdi  sent  hiniB  drawEog  of 
K  nmll  cabinet  or  positive  organ  found  in  the  gardens  of  the  Villa 
Hottd,  at  Rome,  the  bellow*  of  which  resembled  those  we  use  for 
Mowing  the  fire.  A  manj  placed  behind  the  instmmcnl,  is  engaged 
in  introducing  the  wind  by  means  of  these  bellows,  and  the  key 
board  is  played  on  by  a  woman  sitting  before  the  organ.  Mbbsen- 
MDI  has  given  no  copy  of  it;  but  it  may  be  found  amongst  the 
papers  of  Hath,  the  compiler  of  the  Tesorio  Brilannico  delle  me- 
daglie  aniiche,  and  Hawkihs  has  engraved  it  in  bis  History  of 
Husic,  p.  403.  The  small  pneamalio  organs  were  then  known  long 
before  the  period  to  which  their  invention  h  ucrUled,  and  It  is  in 
'the  jiature  of  things  that  they  sbonU  be  more  known  than  tbe  by- 
dranlic  oigani.  Their  employment  appears  a  aortof  abemlioa,  by 
irtucb  the  ori^nai  invention  was  for  some  centuries  prevented  from 
arriving  8t  perftotioo.  The  uicienlB  Imagined  Ibey  bad  ftond 
someOiIng  beUer—jnit  it  proved  otherwise^  and  tbey  were  compelled 
to  letom  to  the  flnt  invention,  and  endeavonr  to  perfect  and  extend 


Sl%  OH  asuiita. 

it  i  by  degrow  the  pneumatic  atgna  aaHttij  Mpemdcd  tbe  bjdnn- 
lieonj  but  as  ttieae  araeliorationt  were  not  generally  koown,  in  some 
CODntries  the  old  organ  continued  to  be  used.  Tbiu  in  tbc  ninth 
cenlutj  AuBELiAN,  in  hisMiuica  Discipliaa,  only  speaks  of  hydrau' 
lie  organs.  Tbose  wbicb  Gbbbert  constructed  in  the  tenth  cen- 
tury, when  SiLvEsiBB  was  Pope  II.  were,  according  Ut  Williah, 
of  Malmesbury,  hydraulic  organs.  Whilst  in  Germany,  France,  and 
Italy,  organs  were  but  little  esteemed,  and  in  an  imperfect  stat^ 
England  ponened  tome  of  tarpiisijig  oompast,  and  which  savassed 
all  IboM  of  the  above-named  couiitriei.  Wot^ux,  sBenedictioa 
monk  of  Winchester  and  singer  or  ohorUler  to  his  coavent,  gives,  la 
bis  life  of  SwiTKiHUS,  the  description  of  an  organ  that  £lpbg, 
BiEboji  uf  Winchester,  had  made  fur  that  church  in  951.  According- 
to  this  d(.-5cripliiin,  that  organ  was  larger  than  any  then  known.  It 
had  twelrc  bellows  above  and  fourteen  Iwlow,  and  required  seventy 
strong  men  to  work  iL  It  was  played  by  two  organists,  eacli  of 
whom,  to  use  Wolrtan's  own  expression,  directed  bis  particulai: 
alphabet.  By  Ibe  twenty-six  belluns  the  wind  was  inliuduccd  into 
agreatoheal,  where  it  was  distributed  through  three  holes  into  as 
roenj  pipes.  This  remarkable  account  is  to  be  found  in  the  Acta 
Saiiclonim'Ocd.S.Bcnedict.  published  by  EilABiLLoN,  vol.  8,  p.G17. 
"Wbatevfli  the  aiie  of  this  organ,  it  hod  bat  Ian  keyi,  and  for  eaeh 
key  forty  pipe* ;  the  wind  prodnocd  by  the  twenty-six  bellowa  nv 
qniring  the  strength  of  serenty  powerfiil  men,  could  pot  have  bocu 
very  moderate.  In  the  same  work  Itf  abili.on  (at  p.  731)  describes 
.inotbcr  organ  existing  at  the  same  lime.  A  certain  ColTKT  Et,9lW 
tntrcatcd  Saizit  Oswald,  Archbishop  of  York,  to  inaugurate  Ihe 
cburcli  uf  lite  convent  of  Ramsey,  in  which  he  bad  placed  an  organ- 
The  pipes  were  of  brau,  and  cost  thirty  pounds  sterling.  Tbey 
were  placed  in  boles  above  the  clieat,  and  belloirs  were  used  to  in- 
troduce Ibe  wind,  and  their  sound  is  described  as  melodious,  and 
sufficiently  powerful  lo  be  beard  at  a  coDsiderable  dEstaoce.  Not- 
'  vitbsfaoding  the  inpsdbetioD  itf  these  oigADi,  they  every  vbwe  pro- 
duced the  greatest  astcHiisbmeat,  and  every  diurch  was  soon  detinHU 
of  posBessing  so  efficacious  a  means  4f  atlractiDg  a  oengrtgatim. 
\Vl-  therefore  find  in  the  tenth  century,  that  oigana  multiplied  not 
only  ill  the  cathedral  churches  of  the  episcopal  leatf,  but  also  in 
maiiy  churches  of  the  conveot*. 
In  the  ancient  organs  the  number  of  aoitt  mint  have  ben  veiy 


ON  ORGANS. 


313 


iimitad.  From  ten  to  fifleea  wat  oeuljr  (heir  greatest  extant,  and 
Ibe  exMOlbn  of  tbe  pbin  chant  did  not  require  more.  Th^  conld 
not  inn  then  hai  anjcUea  of  bonaoaj j  or  a  gmter  anmber  of  nota 
would  hxn  been  Decenary.  It  doei  not  appear  probable,  but  it  hat 
been  proFed  thattbc  different  pipes  of  the  ancient  organs,  Btroclc  by 
the  tame  key,  were  not  (uned  uniformly  in  unison,  but  also  by  6(lbs, 
fKtaTes,  and  even  by  fourths.  This  mode  of  tuning  organs,  so  that 
each  key  ihonld  give  a  fifth  or  oclave,  suggested  the  idea  of  iinifat- 
log,  in  tinging,  (he  onion  (rfdiflncnt  aonnds,  also  called  organum ; 
they  bad  an  orgnnnot  tn[diim  and  qnndTuplnm,  according  in  ilie 
namberof  Tirioes;  nobTotoemaeonaidaredae  the  pipe  of  an  organ, 
and  in  the  naorologiumofan  ancient  churoh  at  IhiriB,  it  i*  determined 
bow  moob  each  linger,  who  lepreaanted  (be  of  orgta,  ihoald 
be  payed. 

•  The  keys  of  organs  were  formerly  rery  roughly  worked  and  of 
OOoaidBrable  dimensions.  The  key  boaid  of  liie  old  organ  of  the 
eatiiedral  of  Ualberatadt  bad  only  nine  keys,  yet  it  wag  thirty-six 
inches  wide.  The  old  organ  in  the  cathedral  of  Magdeburg  had  a 
key  board  of  aizteen  keys;  (hey  were  square,  and  each  three  inches 
wide ;  these  uzteen  keya  occupied  therefore  a  apace  of  forly-ciglit 
inches,  and  ware  consequently  widn  than  our  key  traards  of  fire 
ociavcf  aod  n  hM,  or  fiwty  htyti  DoBr  Bsnoi  att  CbiiLbi,  in  bii 
art  of  bttiUyig  o^aos,  ipeakicf  wnM  nboto  keya  wen  fiveiochea 
and  a  half  wide.  The  manner  of  f^yb^  was  craformable  to  (heee 
immense  keys.  One  finger  was  not  sufficient  to  put  them  down ;  it 
was  necessary  to  strike  Ihcm  with  the  whole  force  of  the  fist,  some- 
thing resembling  the  method  in  playing  the  carillons,  yet  in  use  in 
several  villages,  and  on  which  the  player  cau not  perform  wilhoullhe 
greatest  fatigue;  it  nppean  (he  ancient  organists  hud  not  k'5s 
trouble. 

The  bellows  were  not  more  perfect  than  (he  organs  thenuelvei. 
We  have  already  taid  that  H  nqnived  leTenty  stro^  men  to  set  ia 
■uUon  the  (wntjr-riK  bellows  of  the  Wiaofaeata  cxgnn.  Tbe  great 
organoftbecatMntnt  Halbentadt  had  twaty,  and  that  of  Mag- 
deburg twenly-fbnr  (man  bellows,  neaiiy  iMnnbllng  ihoae  of  ouf 
naith's  fingei  i  tbqr  were  not  then  fanwhed  with  a  w^^t  to  MHbte 
tfaem  to  iatttxluoe  a  saffieient  qnantUy  of  wiad  j  the  intemity  of  the 
wiod  depended  therefbcB  vpoji  thn  itTSDgth  of  IboK  who  worked 
tbna.  Thii  mode  Bat  have  boenwjrfittigaliiftSMl  tbe  quMtily 


Digilized  by 


SI4 


of  wind  very  irregular,  becBoteBil  men  are  ofdi^rent  nreiglils,  and 
the  eqaalitj'  of  the  wind  prodnoed  tbe  bellows  depends  on  the 
oqnatitjr  of  weigkt  ^ich  nrves  to  lower  (hem ;  the  manner  oflower- 
iag  them  wai  alto  verj  riogQlar.  Upoa  each  of  the  boUowi  wa> 
fixed  a  wooden  shoe;  the  men  who  worked  them  hung  by  their  bands 
on  a  tiaiurene  bar,  and  each  placed  a  foot  in  one  oi  those  shoes, 
lowned  one  bellows  with  one  foot,  while  with  the  other  ha  raised 
another  bellows.  To  worktwent;  bdlows,  (en  men  were  necessary — 
foi  twenty^finVt'twclTe,  &c  Pimbtokius  has  given  a.  dmwing  of 
this  mode  of  blowing,  in  (be  twentj^^ixtb  pbteof  bu  Organographj. 
Idieai^  loconoeire  that  by  this  means  the  organ  cooM  never  be  in 
tone,  bacause  the  wind  was  edmilted  unequally.  Tlie  organ  pipes 
won  nsnalljr  of  bnus,  and  so  roughly  manuOiclured  that  Ihc  sounds 
they  produced  were  eEtremcly  sharp  and  noisy,  on  account  of  tbe 
want  of  registers,  each  Itey  made  all  tbe  pipes  corresponding  with  it 
sound  at  once;  at  the  present  time  the  registers  open  or  shut  tbe  ne- 
cessary pipes;  to  this  add  the  noise  caused  by  all  tbe  bellows,  and  It 
will  easily  be  conceived  why  the  introduction  of  organs  into  churches 
encountered  so  many  difficultici. 

Ealred,  an  English  tillthor  of  the  beginning  of  the  twelfth  cen- 
tury, says,  that  these  <^ani  made  k  noise  resembling  thunder,  wbi(fi 
coidd  not  be  fovorable  to  tbe  asMmUing  of  the  faitiiful,  and  AoB 
what  has  been  related  of  their  coaatnictiQa,  his  deacription  could 
not  bo  exaggerated.  Prcbtoriits  (m  bis  O^anograpby)  and  Ha- 
THBSOH,  two  compeleni  judges  in  such  a  case,  do  not  give  a  more 
favorable  opinion  of  the  ancient  organs.  It  was  net  alone  titeir  im- 
perfection that  opposed  their  introduction,  for  in  the  early  stages  of 
Christianity  the  building  churches  and  even  temples  met  with  more 
difficulty  than  the  introduction  of  organs.  Obiobn,  in  the  eighth 
book,  of  bis  Book  against  Celsus,  expressly  says,  "that  we  Christinns 
believe  we  ought  not  to  worship  God  in  visible  and  inanimate  lem- 
plefc  At  thb  e»Ay  period  it  was  deunble  to  render  divine  wonUp 
as  iimple  as  possible,  in  order  to  distingush  it  Awn  tlwtof  tbe  Jews 
and  Pagans.  Towards  the  middle  of  the  thirteenth  centnry,  St. 
TaONAB  d'Aqdin  holds  nearly  the  same  bnguage:  "  Our  ctinrcb, 
he  says,  does  not  admit  of  instrumcols  of  music  such  as  the  citban, 
the  psaltery,  &c.  in  order  to  celebrate  the  glory  of  God,  that  we  may 
not  rcaemble  Jews."  The  number  of  perstms  of  more  moderate  sen- 
timeitli  VM  TWj  great;  tht^&ToiedUisiatndictiiu  oforgani  and 


Digitized  by  Cooi 


other  imtniRieiib  iota  the  «hordi  as  won  as  thty  peroBtved  thai  their 
UMfiiuleailoriBjBTLng  the  principal  end  of  irorsbip,  naioii  thecon- 
(mrjrfiiToreble  to  it.  Others,  inch  as  Baldicrcs,  Bishop  of  Doi 
in  Brctagne,  in  the  clcrcnth  century,  n^anled  the  inttoduclion  of 
organs  with  inclttlBrencc.  Notnithslandiog  these  contra  die  lions, 
organs  and  even  atbcr  inslrumenls  trere  soon  adinitled,  uot  only  into 
all  great  chiirchci,  but  alsu  into  thoee  of  conrents  and  small  tuwns. 
The  historians  of  this  sera  celebrate  sereral  monks,  distinguished  for 
the  art  of  playing  on  the  organ  and  fat  their  general  mosioal  abilities. 
For  wme  time  oi^aiii  wen  onlj  we^  on  great  teaglBf  loleiu  occa- 
sions, and  not  habitnally  In  the  celebration  of  nU  the  offices.  Id  Uie 
fiflh  vol.  of  the  Annals  of  the  Benedictines,  by  Habiluih,  there  is 
at  page  505  mention  made  of  an  organ  in  the  Abbey  at  Fe^ainp, 
and  he  snys  expressly  that  it  was  only  used  at  certain  times.  Le 
Bbdp,  p.  IIS,  of  his  Slate  of  the  Sciences  in  Fiauce,  since  thoieign 
of  RoBeer,  &c.  says,  that  it  was  customary  for  the  laity  dbtiac- 
tion  to  present  organs  to  religious  hooses,  which}  wicordii^  to  all 
appearances,  were  of  small  power- 

The  fifleenA  cenlnty,  one  of  the  most  ieapoTlant  in  the  hista;  m 
the  cMIizattonofBarope,  had  a  Tcry  decided  iaflaenoe  npon  maafc 
as  well  as  upon  all  the  arte  and  sciences.  The  general  introduetloa  ' 
of  figuraie  music  produced  a  sensible  amelioiatEon,  and  induced  a 
greater  use  of  instruments,  and  parliculHty  the  o^n.  This  led  ta 
its  gTadualimprDvement,theregisteTsweresepBrB(al  from  each  other 
and  were  made  to  imitate  the  soand  of  a  particular  instrument.  The 
Germans  were  the  inventors  of  several  reed  stops,  such  ns  the  liaul- 
hoii,  basBoan,  &c.  They  were  also  well  acquainted  wilb  Ibe  (rum- 
pet  and  TOZ  linmam  stops.  In  augmenting  ami  separating  the 
Tt^gMets  and  the  rcieu,  it  wu  neoesssry  to  extoid  (he  key  board. 
Tfae^  had  befbre  only  the  diatonic  scale  and  a  taw  octavea ;  they 
Aen  inserted  the  ohnHnatic  tones  and  increased  the  number  of«c- 
tives.  Don  Bkdob  sb  Cbllbs  thinks  that  they  had  begun  in  the 
tbirfeenth  centoij  to  jdace  the  chromatic  tones  in  the  organ  of  the 
chiucli  of  St.  Balrator,  at  Tailce.  This  first  chromatic  key  board 
had  an  extent  of  two  octaves.  The  Invention  of  pedals  by  a  German 
named  BaBirHAaD,  residmg  at  Venice,  contribnted  greatly  to  the 
perfMion  of  the  organ.  The  constmclion  of  bellows  and  Uie  exact 
vad  proper  qoantity  of  whid  are  of  so  much  importance,  that  without 
thein  it  is  imponOde  to  conslmct  a  good  cogan.  The  inTentioa  of 

TOI,.  UI.  VO.  St.  T  t 


tlie  anemomcler  to  meanire  the  aut  qiiantitj  of  wind  nccaury  to 
each  register  by  a  GermaD  organ  builder  named  GBRiBtiAH 

F.KiiNMr.  of  Wdtiii  on  llic  Snnli;,  in  tlie  serenteenlh  century,  has 
grfniiv  aiiicu  in  briniriiis  inc  orgau  lo  state  of  perfection. 

It  mifriu  DC  tuousiii  irinc  ihe  example  of  the  Pope's  cliapel,  in 
WHICH  an  (rtL'.ni  "!ib  iu'ver  aiLmiiied.  iTould  have  been  injurioui  to 
iiiirir  !iiirLiiiiii:[uiii  iiiiii  L'liLirriies.  !vveral  in  Italy  and  France,  and 
Eiiii  ihoseoi  itie  Ciiarrreux.  nad  prescribed  the  use  oflbem,  buttbeir 
ntilitj  la  sustain lug  and  accorapaajring  tbe  Toices  of  large  eaagm- 
gationi  waa  lo  perceptible  that  they  -were  Tery  gmeraUy  ^oplsd. 
In  Gemuiny  (hey  spFcad  T«y  quickly.  In  lilS  there  vem  two 
orgBaistsatNcerdlingucQ  vbo  received  salaries;  and  at  the  same  time 
a  new  organ  was  constriided  in  the  convent  oftbeUnabod  Carmcliles. 
In  1466  Stephen  CAeTENDooFEn,  of  Brcsiaw, constructed  a  third 
organ  there.  They  were  introduced  at  a  later  period  in  some  other 
considerable  lowoi  in  the  South  of  Gerinany.  The  first  organ 
placed  at  Nuremjierg  ia  1443  and  at  Augsbourg  in  1490.  These 
organs  bad  no  pedalsi  but  they  hod  very  large  pipes.  According  to- 
the  ancient  ehionkles,  there  were  organs  in  di&rent  towns  in  the 
North  of  Germany,  which  bad  no  pedals,  and  only  lerrad  to  play 
slowly  the  plain  chant.  It  was  not  till  aflei  the  inrealion  of  pedals 
Ilmt  Ihc  improvements  in  tiic  orgau  became  important.  This  inven- 
liun  apprarslo  l.iiv.;  bMiieatlj  kimim  in  Germany.  In  1475,  in  the 
cliurciL  ol  lliu  L'li^-liocl  Ciriiiclilc's,  iit  iN'ureiiiljurg,  there  was  an  orgaa 
will>  an  uiiliiidry  liey-buatd  and  ptxlid:.  conattuclcil  by  the  ton  of  a 
buker  in  that  city,  named  Cuarles  Robenbdroeb.  This  organ 
JiuildiT  was  tiien  in  great  repulatiou,  and  creeled  the  great  organ  of 
llic  calhudial  at  Bamberg.  Towards  Ihe  end  of  the  GlIeL'nlh  century 
alcnoit  every  chorch  endeavoured  to  procure  the  advantage  of  pM> 
Ksslng  an  organ. 

One  of  the  oldest  organ  bnildersof  celebrity  was  Ekhart  Smid, 
of  Pryascnberg,  in  Uavaria,  whom  Duke  Ernest,  in  1433,  ei- 
enipCi'J  frum  every  sjiccit's  of  im|)uat  Eind  coiilribiitioii,  on  acoount 
oi  liii.  skill  ill  ciistr.icliiigcrKLirib.  Asdhe,  i.bo  built  in  UfiG  tlie 
old  organ  ol' !~,  .Kt^iiiiA,  at  Hjuiiswick,  alau  enjoyed  great  celebrity. 
Hendx  TiiAxuiinr  btiilt  organs  with  and  without  pedals.  Accord- 
ing to  Pn^Tonitis,  FuEDERiCK  Krebs  and  Nicolas  Mtri:.i.BS, 
of  MildenUerg  were  very  skilful  organ  builders.  Uooolphui 
AoxicoLA,llEitB7  KKAHTZ,andJoiiMTB0HA>,3^anidj)oiiieif 
tioned. 


ON  ORGAHit 


317 


Wb  are  acqnainted  bnt  vElb  leir  celebrated  ot;g«iiuU  of  Ifaia  enrljr 

period,  and  in  fact  before  the  aisteenlh  century  there  appears  to  bave 
Iwen  none  nhosemerit  vas  worth  recording.  Everj  tiling  vaitlien 
reduced  to  the  indication  and  support  nftiie  plain  chanl,  vthicli  wai 
rer^  nnifarm.  Aktonio  Squarcialupd  seenuto  bare  been  one 
of  the  lint  nho  oecd  raore  art  in  bis  performance ;  be  lived  abaut 
14S0,'at  Floreuce,  and  mmy  ilrangen  IraTelkd  eipreaiy  to  Flo- 
lenceto  be  acquainted  with  and  bear  him.  Poccianpi,  in  bis  cala- 
Itigue  of  Florentine  nulhors,  saj's,  tliat  he  published  some  composi- 
tion!, but  without  explaining  whether  for  Ihu  organ  or  Ehn  roicc.  He 
adds,  that  his  portrait  in  marhle  was  placed  at  tlic  entrniicc  of  tlie 
CBthedralf  with  an  bonourubli:  inscription,  nhicli  cuntinuuJ  to  L-x.ht 
in  thelastcentur/.  BEnNiiAEtn,  tlic  invcntnr  uf  thcpvtlals,  must 
sUobaTebeenin  his  time  agood  organist ;  this  may  be  deduced  not 
only  friHn  the  testimony  of  Sabbllioog,  but  also  from  his  inven- 
tion. John  Hofhaimer,  organist  to  the  Ehperor  Maximilian 
First,  may  nl«o  be  cited  among  skilful  perfurmsrs.  But  nhalever 
progress  they  may  have  mndc,  the  real  art  of  playing  the  organ  did 
not  b^n  to  Qourish  till  towards  the  end  of  the  sixteenth  centnry. 
Notwithstanding  the  imperfection  of  the  instrument,  and  iti  condu- 
tim  applicaliou  toplnin  chant,  a  mode  of  writing  these  melodies  wai 
early  discovered.  In  Italy  they  probably  nsed  Ihe  same  notes  em- 
ployed in  writing  for  Ilii;  voice,  ab  soori  a^  tlie  necessary  signs  were 
invented.  In  Germany,  Ihi;  Greguriaii  lellers  ivere  nsral,  ivliicll 
mode  was  abandoned  by  ihe  organists  in  the  seventeenth  century, 
ahlioagh  thfB  Ilaliaa  method  leenu  lo  bavc  been  emplojed  bj  some 
-in  the  fiiWwtli. 


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MR.  COLLARD'S  PATENT. 


A.  Patent  (for  the  United  Kingdom)  for  Iraprorements  on  Piano 
Fortes  bai  been  receollj  obbiined  bj  Mb.  W,  F.  Coluxd,  of 
tbe  House  of  CiiBhehti,  Coclaki),  and  Co.  London. 

From  the  long  and  deep  altention  there  has  been  bestowed  on  the 
stracture  of  Piano  Fortci,  and  the  eminent  success  wilh  irhich  cTerj 
bint  for  their  improvemenl  has  been  piirsiieil,  we  were  not  prepared 
■  to  expect  any  invention  thai  might  odd  to  tlie  general  powers  of  the 
instrument,  although  among  the  prodigious  assislRnces  mechanics  am 
able  to  lend  to  att,  we  should  not  liavB  doubted  Hint  Iheie  might  be 
yet  some  par'icular  pnrts  susceptible  of  a  supfiriot  construction, — 
The  object  of  Mb.  Cobr^AUD's  indention  is  however  general,  and  it 
imparts  not  onljr  a  nen  and  richer  degree  of  tone,  bnl  it  mbimti  a 
clifuce  oTfKili  nnettet  and  degreetto  tbe  plsjvr,  vMdi  can  baidl; 
bil  to  coll  fbrth  noTd  tnH  beantifol  eSfeets  In  perforraaoce. 

Freedom  of  TibTalion,  poinr,  richness  and  equality  of  (one,  being 
the  great  and  essential  qualities  to  be  desired  in  Piano  Fortes,  the 
attention  of  the  Patentee  appears  to  have  been  directed  generalljr  to 
the  discovery  of  some  principle  by  which  these  requisites  could  bo 
obtained  in  a  higher  degree  than  by  the  plan  hitherto  employed 
in  their  conilruclion.  The  mecbaqisn}  used  having  been  already 
lirought  to  a  very  bigh  dtgree  of  eicellence,  it  teeined  manifest  tbst 
jtf  the  qOfUties  songht  after  could  at  all  be  prgdaced  to  (he  cxloit 
lAt^xti,  (b^  inoit  eilher  result  from  a  new  conslrnctioii  of  the  Mnnd- 
iKWd,  or  ftopi  tbe  piodB  of  applying  flie  ttriog^  or  from  botb  meant 
(Cqpbin.ed. 

Hs.  Ca;ui4BP|firom  the  oonTeisBtion  ve  had  the  pleaiore  to  hold 
nith  hi|9  npon  the  subject  of  bis  invention,  appears  to  have  been  led 
by  VBiloiu  ioductJiws  and  analogous  reasonings  to  the  discovery  of 
tbe  plan  fia  ^bich  bp  bas  procured  his  patents,  and  by  which  l^e  not 
onlyaeemt  to  bfve  jobtoined  the  means  of  effixtiog  that  power,  freer 
dom,  and  length  of  ribmlion,  so  much  tbe  alyect  of  hii  seuch,  twt 
liSto  of  B^ng  B^ftiwr  iJD9pcoTeme^t  irhercb|y  the  jriayec  ii  «nable4 


t«  give  B  flura  nrtaattve  nri^tj  to  Ua  pnfinmaBee,  «id  powM 

and  liaboesi  of  effect. 

The  mecbaniiia  of  eacbi  descnptkm  of  Piano  Foctei  now  commonl; 
in  ase  he  1eave«  nearly  in  (he  «ame  itate  as  that  employed  by  the 
most  emincat  manufaolurera,  so  that  the  perfoimci  has  no  nm  diffi- 
oulties  nhatever  lo  encounter  from  the  application  of  Ur.  Col- 
lard's  ioTenlions. 

The  case»<ir  frame-iroik  ot  grand  piiiio  fbrtci  he  oonitnictB  on  s 
limple  prinoiple,  of  so  gte»t  streogtb  na  to  enabls  Hum  to  MHit  lha 
efiecti  of  climate  and  a  fat  greatet  power  llmi  tin  ooil^)iiwd  puU  o£ 
the  atrings  produce.  The  iraproYeiMiit  tint  b  (be  buii  on  vhush 
the  otlier  ii  founded,  ii  an  adililionnl  bridge  on  (he  sound -board,  not 
for  the  purpose  of  regulating  musical  inlervaU,  but  of  aDgmenting 
(be  duration  of  the  vibration,  and  conscquenllj  inoreasing  and  beau* 
(ifjing  the  tone.  This  bridge,  which  he  calls  "  the  bridge  of  rerei^ 
beiation,"  is  placed  at  a  regulated  (liilaticeonthescmiid-boBriit  and 
the  important  advantage  resulting  from  it  ii,  that  the  motion  gircn 
to  the  principal  part  of  the  dring  bj  the  ini|wl*e  of  the  bammer  it 
kept  np  b;  (be  bridge  of  nreriMnUion,  initeid  of  being  idddeiily 
checked  by  an  nUachmcat  le  an  aqjrieldii^  Mbrinnca.  The  pn>> 
longed  vibration  prodaces  an  extnoidinary  purity,  power,  and  cai>> 
tiniiity  of  sound  Boaiei>ha(  teiembiing  the  richness  of  an  octave  beion. 

From  this  essential  improvenicnt  the  Palenteo's  second  iavention  is 
derived,  which  is  as  follows : 

On  the  old  plan  of  pauuig  the  strings  directly  from  the  tide  of 
(be  cue  to  Uie  original  bridge  on  the  loaud-boiurdi  it  bocMns  neces- 
sary, in  order  to  prevent  the  jarring  noise  of  those  portiont  of  the 
wire  which  lie  between  them,  not  only  to  plaoe  some  toft  nbMlRGe 
on  (be  (op  of  the  moulding,  bnt  also  to  min  a  piece  of  olotk 
between  the  strbigt. 

'  Tfaeaeooad  imptovement,  which  (be  patentee  calls  the  Haimonie 
■well,  substitutes  a  novel  action  for  those  portions  ofthe  string  which 
lie  between  (he  two  bridges,  yielding  most  sweet  and  melodioai 
tOMi.  The  performer,  by  lifting  a  valve,  is  enabled  toelicit  thoie  bar- 
monionBsoandt  through  a  well-known  ayropathelic  relation  between 
■ceordnnt  strings,  withmtt  touching  those  portions  of  the  strings 
which  piodooe  them.  The  augmentation  of  souud  caused  by  this 
'  mewis  TeMmtda  In  tome  neasnie  the  effect  of  lifting  the  dampers, 
bat  wUhont  pndooing  the  sue  eooluiioa,  tinco  every  note  on  the 


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8S0  couABB'i  Pixmr. 

bodj  of  Oit  iaitnunent  u  t^luly  dsraped  u  (Iw  peribracr  liRi  hfa 

finger.  By  this  apparatui  a  tbrecfold  power  of  Bug:inenttiig  the 
soaai  iaacqaircd;  whereas  inslmmenti  of  the  common  conitnioli«i 
hftve  but  the  one  cauted  hy  lining  the  dampers. 

The  first  augnipntation  of  power  is  by  lilting  the  harmonic  swell. . 

The  second — by  dropping  Ihc  harmonic  swell  and  raising  the 
dampers. 

The  third — by  raising  (he  harmonic  swell  and  the  dampm  (ogetbei. 
By  (he  last  means  the  perfonner  add*  aU  the  bmMiftiiGh  are  ijmpatbe- 
ticatlf  -  elicited  from  the  attings  betmen  the  origtnal  iHidga  mad 
bridge  of  rererberation,  orerand  abo?e  all  that  can  be  produced  on 

instruments  of  the  common  constmclion,  and  Ibe  effect  is  accordingly 
of  extraordinary  lichni^sand  power. 

TJicsc  inventions  arc  nlikc  upplicnbic  to  upright,  cabinet,  and 
square  piano  fortes ;  the  latter  of  which  ocqn ire  by  this  new  mode 
of  eooitiuclion  much  of  the  richness  and  depth  ot  tone  peonliarla 
grand  instruments. 

.  The  improTCmenls,  as  simple  in  Ihemaelm  as  their  efiecte  m 
striking,  enable  the  playergieotly  to  extend  tfae  variety  of  Ua  per* 
fomuuice,  and  are  twknoirledged  by  the  first  profttsioml  Judge*  to 
have  given  a  neir  charaelsr  to  the  instmrnoit  of  the  moat  efibctive  kiid. 
That  which  we  heard  appeared  to  ns  to  prodnce  the  kind  of  pro* 
longed  toM  which  arises  in  a  room  of  fine  resonance,  and  the  power 
was  certainty  vastly  augmented.  Upon  the  whole,  (he  inventor  seenu 
to  have  aocomplidud  tax  more  than  conid  have  been  expected  after 
the  vtty  high  slats  of  impiOTemeiit  Uie  piano  finte  lud  alieadj 
attnined. 


THE  TBRPODION. 


A.K  iiig«iioiiR  GioTinan,  vboK  name  b  BirscH hahn,  hat  brought 
OTer  la  thii  country  a  neii  instrament  ander  this  title.  In  our  fint 
Tolnme,  pago  149,  a  correspondeol  bat  detcrlbed  the  (Edophone, 
■notber  Germui  inTcntioib  We  ban  been  admitted  to  hear  the 
Terpodion,  bat  not  to  a  sight  of  Ui  raeohaninD,  nbich  however  m 
aie  penuadedhu  anearresembhnce  to  tbatof  theCEdapbon^iTtt 
be  not  actually  the  same.  Tbe  two  iniliuroents  are  the  same  in  (be 
and  external  t^pearance.  They  ara  both  made  to  ipeafc  by  so  ep- 
pareatly  (imilai  proceu.  The  performer  mutt  treat  Ibem  both  alike 
and  legoUte  the  pterante  of  foot  and  finger  in  Ibe  nme  manner,  la 
jotder  to  produce  the  general  lone,  tliecKaoendo  and  the  diminnendo, 
of  vhlch  the  instruments  are  equally  capable.  Neither  docs  it  ap« 
pear  that  the  sounds  of  the  Terpodion  arc  more  rapidly  produced. 
From  these  strong  auBlogies  we  thorefbiecondiidetheconBtractiDn  of 
the  two  to  be  nearly  the  saioe. 

Bnt  there  it  an  eaenlial  diBkrenee  in  the  toAe,  which  proceeds 
from  the  diirerentmaleritils  employed.  We  understood  the  Terpo. 
dioo  to  be  o(  beech  wood ;  the  Tibrating  parts  of  the  (Edophone  were 
of  a  metal  the  composition  of  which  was  known  only  to  the  inventor. 
We  prefer  tlie  lone  of  the  wood.  It  is  not  indeed  so  varloui,  bnt 
more  rich  and  powerful.  The  greater  part  of  tlie  instrument  re- 
sembles the  horn  when  very  finely  played ;  indeed  the  sounds  were 
exactly  aanmilated  in  onr  ears  vith  those  produced  by  U.  Puzzi, 
with  whose  peifbnnance  wo  had  been  exceedingly  delighted  only  a 
few  hours  before.  The  upper  dirlsioD  of  the  instrument  resembles 
thefiute  8o  complelely,  thatweshonld  consider  it  might,  eren  belter 
than  the  CEdopbone,  be  used  as  a  snbstitnte,  paiticnlarly  In  the 
chamber,  for  those  inslruments. 

Tlic  inrentiun  is  very  ingenious  and  beautiful.  It  was,  we  believe, 
M.  Buscuuann's  purpose  to  sell  the  knowleilgc  of  its  construction, 
should  he  Snd  a  purchaser,  bnt  whether  it  remains  in  his  hands,  or 
whether  he  bai  tiauiftned  hb  iuteiest  m  h&n  not  beard.  This  in- 


□  Ignzed  by  Coogle 


THE  TERPODIOX. 


genioos  man  CunB  to  England  witlt  his  roh,  an  interesliogbd,  about 
15,  vrith  a  fine  inlelligent  oonoteiiaace.  NeiUiar  of  tbem  spokt  mj 
langoogebnttlirir  am,  and  th^  p}ajed  doeli  npon  the  iDrimnKnt 
irith  delicate  and  beaaliful  expieMion. 

The  grand  defect  of  instruments,  whose  tone  is  generated  hy  fcio 
lion,  seems  to  lie  in  llio  coraparalivcly  slow  manner  in  vrbich  the 
notes  cnn  be  produced ;  and  so  considerable  is  tlie  difficulty  of  om- 
coraing  lliis  embarrassing  consequence,  tliat  great  doobis  must  arise 
of  Ihe  poeElbllilj  of  constructing  an  instniment  upon  such  a  principle 
that  can  ever  answer  the  finger  with  sufficient  Telocity  and  facililj 
to  be  useful  in  concert,  or  crcn  in  general  accompantment.  So  &rn 
the  Tei^odibn  can  be  made  to  Bpeak  with  npidily,  It  might  be  es< 
ceedlajfly  naefid  itltere  "fine  peribrmen  on  wintl  inrirammta  aie  aat 
tobehad,aiidceT(ainljBma(cnrs  engaged  in  private  concert*  maid 
'find  this  contrivance  would  perfectly  answer  all  tlie  ordinary  demands. 
We  nndentood  that  the  prime  co,l  of  Ihe  Terpodion  was  not  great, 
'K  'circumitoncc  which  alone  could  fuTOur  (be  lntro<luction  of  an 
'ifUtramentaotiniiled  in  its  powers  and  application.  As  an  accom- 
paniment to  the  Tmce  it  ironid  ItBodl/,  we  think,  be  agreeabh  ta 
adequate. 


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MESSRS.  MORT,  SPOHR,  AND  KIESBWETTEa. 


It  u  not  oftet]  thai  three  plafers  of  such  JiBlingaishe^  eminence  &n: 
Gtwt  iolo  luch  immcdiald  contiguity  anJ  comparison  os  these  three 
coiMnmniBtc  arlisls  hnve  lately  been,  by  the  Visit  the  two  GcrniDn 
Tiolinists  have  been  intluced  lo  make  lo  Englnnd — England  the  nurac 
and  cherisher  of  art!  But  (he  means  that  have  been  thus  afTuriled 
Qi  of  concentrating  and  recording  (he  judgments  formed  of  (Itcir 
teveral  styles  and  performances  by  sound  critics,  ought  not  to  he 
diir^RrdeJ,  and  hoirCTCr  dii£cuU  and  indeed  impossible  it  may 
bo  lo  give  (he  exact  place  of  honour  nliich  these  generous  rivals  may 
■eve/ally  claim,  (n  Innk  we  shnll  not  attempt)  vre  may  yet  render 
Bome  tirfice  by  such  a  description  as  lies  within  the  competency  we 
ddrive  from  being,,  as  it  were,  the  centre  and  depository  of  many 
opinions.  TheEr  precedency  may  perhaps  depend  upon  extreme 
niceties,  concerning  whicTi  scarcely  any  one  but  tfeemselvct  can  de- 
cide,' because  few  or  none  others  have  combated  (he  difficulties, 
weighed  the  merits,  and  studied  the  effects  of  those  minute  points 
upon  nhich  probably  the  controrcny  would  turn.  Our  mediocrity 
must  be  content  with  a  wider  generalization ;  but  it  may  possibly 
happen,  that  oi  oar  qpinion*  are  a  sort  of  modlRcation  of  (iie  judg- 
ment of  numbers,  (hcH  profesion  may  themselves  gather  from  ui  a 
Talnuble  knowledge  of  what  (he  real  effects  of  their  performances  are 
tapon  the  critical  part  of  the  pUbUc 

Mk.Mosi  is  one  of  (he  moU  shining  omamentaofthe  great  school 
of  VioYTi.  tlis  natural  intellectual  endowments  are  atrong  and  at 
the  same  lime  delicate.  A  lively  (emperament,keen  eeissc,  a  just  re- 
liance on  his  powers,  and  last  not  least,  an  ardent  love  of  his  nrl  and 
an  unrelnxiii^  ciilhuKiasm,  vrlii'tled  by  a  desire  lo  reach  and  mainl.iin, 
and  indeed  to  be  satisfied  only  with  die  highest  rank— all  these  quati- 
tiei,  baclied  by  industry  and  perseverance,  areliiealtribulesand  cha- 
racleristics  of  his  mind.  He  brings  to  the  technical  part  of  his  profes- 
sion also  great  requisites.  His  attitude  has  the  grace  of  manly  confi- 
dence. His  bow-Bim  it  bold,  free,  and  comraandbg;  and  he  pro- 
duces an  emioently  firm,  foil,  and  impietslve  tone<  tiis  execulion  is 
TOLi  III.  xo.  xi.  D  ii 


Digitized  by  CoOgle 


324  Hou,  aPOHR.  and  UEnwcms. 

nurked  nlilu  hy  abundant  force  and  fire,  b;  axttaorcliau;  precUoa 
and  prmligioui  facility.  Tbe  confidence  nming  from  jronth,  the 
conaciouuieu  of  great  talent,  and  hb  Btandin^f  nnriTalled  in  his  own 
coantrf,  appeal  homvsr  to  make  him  set  too  little  valae  on  the  pe- 
culiar excellences  of  otiiers,  and  to  prevent  liii  extracting  those 
ndvaiil.iges  fiom  tlicm,  to  wliicli  mnliiicr  age  miy  probalily  induce 
Ijim  to  pay  a  more  strict  regard,  ile  hus  nil  the  quail licatinns  neccs- 
sarji  to  make  a  conBUmmatc  plajer,  but  he  citlicr  overlookt  ot  does 
not  sufficiently  appieciale  those  luce  points  of  finish,  and  those  graces 
and  delicacies  of  ex  preuion  which,  like  the  setting  uf  a  jewel,  giTea 
preciousDcss  that  highly  enbancea  its  original  worth.  May  it  not 
fairly  be  conjeclnred  that  a  Ultle  travel  vould  be  of  great  use  lo  him 
on  the  pdiufs  ne  hnve  hinted  at,  vhilat  from  tbe  native  v^ni  of  his 
talent,  there  irould  be  but  little  apprdiension  that  bis  raanlinets  and 
lire  would  be  lessened  by  reGnemeol 

As  it  is,  Mn.  Mom  is  a  sort  of  cbanipion  of  England  upon  his  in- 
strument. He  slays  at  home  and  holds  the  lists  against  ail  comers. 
This  is  indeed  gallant  and  chivalroUE  and  lionnrable  to  himself  and 
to  bis  country,  because  he  is  ready  to  prove,  and  he  has  proved  to 
what  an  eialted  pilch  that  country  can  rear  such  talents  as  he  pos- 
sessea.  We  give  him  full  credit  for  his  powers,  bnt  u  it  quite  fait  to 
bimself  i  Would  not  tboie  abilities  wbicb  shine  forth  so  britliaollj 
be  likely  to  receive  from  seeing  men  and  cities  that  enlatgeiseot 
which  can  only  be  so  attained  I  Would  be  not  assimilate  the  great 
and  the  good  from  others?  Would  henotsol^en  some  and  exalt  Other 
features  of  his  performance.' 

If  it  be  apparent  that  Mn.  Mom's  constitution  disposes  him  to- 
wards all  that  is  most  energetic,  we  have  the  traces  in  Mn.  Spobb's 
execution  of  a  mind  continually  turning  towards  reSnement,  and 
deserting  strength  for  polish.  His  tone  is  pure  and  delicate,  rather 
than  remarkable  for  volume  or  richness;  his  taste  was  culliTBted  to 
the  btghest  excess,  and  his  execatton  was  so  finished  that  it  appearrd 
to  encroach  in  a  measare  upon  the  vigoat  of  his  perfbnnance.  Bnt 
lie  was  very  far  from  being  defident  in  the  energy  neceuuy  lo  make 
a  great  plajor.    Tiif  fact  sfems  (o  be,  that  tills  quality,  which  fur  its 

in  Spouh,  cjbt  iiilu  Btcunilary  importance,  ami  reiidcieil  lew  dis- 
cernafale  by  the  piedorainatiiig  iofiuence  of  his  superior  refinement. 
Bit  delicacj;  vat  so  beantifuJ  and  njTrcqnenl  an  oltject  of  admiia- 


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H08I,  ■roBB,  AND  RIBSEWETTBR. 


335 


tioi.tliftt  kls  bma  wot  lowared  in  ibe  compBriaoa.  But  Uioagb  it 
9iiut  be  confined  that  bb  bowam  bad  not  tin  opesnau  uid  com- 
«nd  M  pecultarljr  •triking  in  Ho'bi,  ytt  be  amild  nubia  inS  pi» 
taut  hjt  loiv?  to  an  extraordinary  dunttion.  His  melfaod  of  (abing 

staccato  pastngcs  na^eEcclIenl,  bill  the  ullationa  lie  fivqucntly  made 
in  his  passages  of  exi;cution,  could  not  bo  said  to  accord  villi  ibe 
general  cum  posed  ncss  of  his  manner.  And  as  it  is  frt;quenllj'  tbe 
consequence  of  a  too  subtle  liabit  of  r(.-liiiiiijj  to  ol)lilerule  Ih?  stfunger 
triicus  of  scnsibilily,  so  his  cxpicssion  »iis  more  rcniurkiiblc  for 
puliiilicd  i!]i'.g;incc  than  for  lliose  piiHeifiil  and  sinking  modifications 
of  lone  thai  are  the  oS'spring  of  inlunse  feeling.  It  is  probably 
owing  to  thii  lolleaing  down  of  the  bright  and  brilliant  eflecU  that 
beiBiled(ifmcbaiBaD  could  ever  be  said  to  ful)  is  dicitii%  thoee 
■tronger  buisla  of  the  public  approbalioa  (han  aUend  tbote  exbibi* 
tions  of  art  that  are  directed  against  and  that  reach  the  affections  of 
a  mixed  audience.  Thus  though  in  the  very  first  rank  of  bis  pro- 
fession and  of  talent,  Spoiiu  perhaps  excited  a.  lower  d^iee  of  in* 
terest  than  has  l>L'qiientiy  attended  the  performance  of  men  whose 
eicellciices  were  far  beluiv  bis  standard.  But  such  is  tlic  cDmmon 
falc  of  very  extreme  cidlivntion  and  polish.  It  transcends  the  judg- 
*inent  of  the  million.  The  Komaii  critics  rcuiurkcd  the  pie-SJuinenl 
bauty  with  which  Spoiin  enriched  his  playing  by  a  itdct  itailntioii 
«f  Twnl  effects.  They  said  he  was  llie  finest  singer  upon  the  ?iolin 
tha^  eter  appeared.  This  perhaps  is  the  higjiest  praise  that  caoiba 
bestowed,  for  altliongh  injtruioanlal  rnnsic  oertainly  raises  emultDrri. 
wd -passions,  yet  Ih^  are  my  iaint  and  ngaa  Jihm  comparfld 
with  tbe  full,  deep,  and  definile  affections  awakened  by  the  bQiBan 
vnine.  The  nearer  an  inslrumi^nt  approaches  the  voice,  lite  neaser 
'  art  to  llie  attainment  of  its  objecl,  and  the  reverse  of  the  propOiilioB 
44*>Blly  applies  (o  singers ;  the  more  they  waniler  through  the  mawa 
<rf'  execution  towards  inrimmenlal  effect,  tlie  further  they  stray  frocfi 
the  seat  of  their  own  proper  dominion — tlie  heart. 

We  come  now  to  the  last  great  name.  Mr.  KiESBwBTTEa's  firit 
perfornunce  at  the  Pbilbarieonic  Concert  of  London — perhaps  the 
aevbnpt-lesl  to  whiob  power  can  be  brought,  became  tbs  major  paA 
of  lhe-a»dience  coaeisle  of  pnttman  or  pflrsont  rtoit  iniiiediueljr 
potnMMI  vitb  mHsic— fail  first  pt^armamw  Ce  might  almoit-  My 
iww  mft«fl  iriib  the  tpry  fxttafaganpe  of  ap[»obKtion  and  «p- 
platue.  F«t  allhoDgb  his  extntftidin^  ^iHtity  detamd'^  mtiat 


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MORI,  BFOHR,  kVD  KIESKWBfmL 


coropMe  expremon  oFlhe  delight  which  coatd  but  be  felt,  jet  it 
was  lenuTked  amongst  the  jodicious,  that  the  load  est  plaudits  wen 
roinghtl  with  an  expression  of  pleasure,  bordeiing  on  a  laugh,  s 
manner  which  praise  adopts  nlien  caught  by  surprise  at  quaint  or 
unexpected  turns,  rnllier  Ihnn  when  cft|'tivii(i'd  by  solid  escellence*. 
'By  tbii  remark  tve  wouUI  not  be  thought  to  detract  a  pnrticle  from 
Iho  abundant  talent  which  we  willingly  admit  Mb.  Kiebbwettub  to 
jjosspss  1  his  abilities  are,  in  every  hciisp  of  (he  word,  ailminible  in- 
deed ;  we  merely  wish  to  have  it  uiiderslond  (ha(  there  aro  puints  of 
peculiar  ikiil  which,  ulieii  pu^lird  bi-ynrid  c<.-rlaiii  limil&,  run  iolo 
defect,  <il  is  but  one  step  from  the  sublime  (o  the  ridiculous!)  how- 
ever vehemently  applauded  there  vi'ry  oxerliun.s  may  be  by  llieniaU 
tilude  of  auditors,  who  arc  ever  mnro  sliinuliited  by  noveltjr  and 
surprise,  (haa  by  the  appropriate  disposition  of  parts  sad  of  ths 
wliule,  which  is  the  result  of  deep  consideration  and  Anelasta. 

His  camnwnd  of  the  iuKtrameat  appears  (o  reader  him  snperSor  t<r 
amy  possible  difficully,  and  out  of  this  luperabuadaat  power  po- 
linps  arise  those  temptations,  which  almost  necessarily  lead  lo  esccn. 
For  ailhougl]  sobriety  of  judgment  rejects  superfluous  execution  as 
well  as  superfluous  ornament,  yet,  when  warmed  with  exercbe,  there 
He  Aw  who  can  resist  the  power  of  demonstmdrig  acquircmcDtl 
wbicb  otben  faave  not  reached.  His  lone  is  good,  but  it  lacks  Ibe 
nunly fUlnesa of  Moai  and  thcdelicacy  of  Spohr.  His  tnvigy 
■eema  eearoelj  witbia  hisconlioul,  but  he  displays  a  degree  of  irrila- 
bOity,  <lbe  o&prln^  of  aoale  sensibililj)  which  sometuDet  caoMi 
Iitm  to  err  in.his  inloBBliOB,  althongfa  it  never  Incapeoilitea  hta  fnn 
mattering  the  most  Eotricate  and  rnibarrasiidg  diffienltles  in  exeea- 
(ton.  The  rapidity  and  distjnetness  of  his  staccato  cannot  be  BUr- 
passed,  but  the  compositions  which  he  generally  plays  are  so  full  of 
extravagances  and  incongruoua  conceits  tlint  they  detract  greatly 
from  hjs  claims  to  genuine  taste,  and  even  derogate  from  the  intense 
feeling,  which  should  from  other  circumstances  appear  (o  be  among- 
'  the  atlribnics  of  his  musical  character.  We  suspect,  bowerer,  that 
thefashion  orhia  country  is  chargeable  with  some  of  this  lastdefect. 
At  this  moment  we  have  maon  to  believe  tbe  gemml  aljla  <tf  indro* 
mental  miisic  in  Oerewiiy  ia  infected  with  the  Iot»«f  «weit— 
then  is  tbs  btdl  oF  (be  times  and  the  echool  nthertbu  of  Iba  artist, 
wbo  is  nnqueitiooabl;  among  the  most  briUiairi  vbAba^  ttiat  ban 
appealed  Amongst  tifl  for  many  year). 


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UOKI,  IPOHR,  iMD  KIBSEWETTEB. 


327 


We  bare  hilhetlo  ipokui  of  theie  dutinguiibed  penou  ai  con- 
cerlo  pUyen ;  it  remains  for  ni  to  ^t;  loaietldDg  of  thai  tejenl 
qunlilie*  and  preteiuioni,  u  leaden.  Bat  this  nolioe  can  be  bnt 
brief,  for  in  truth  the  same  facuUiea  viti  lead  to  (he  same  diaraotaristio 
resalla  bi  one  broncfa  oEart  as  in  another.  Uoxi,  therefore,  hu  bold- 
ness, deeiiiod,  and  fire — Spdur  ancommon  judgment  so  tempering 
his  energ7,  that  if  we  may  use  such  a  term,  be  leads  with  iptrited  coni- 
posnre-^KiESXWBTTBB,  on  the  conlraiy,  seems  loo  much  occnpted 
with  (he  consciousness  o(  (he  part  h6  is  himself  to  perform,  but  his 
aniniB(ioii  is  alreajs  well,  though  with  no  litlleefibrt  restrained. 

Such  is  the  portraiture  of  these  great  artists  as  reflec(ed  from  the 
mirror  of  (he  public  miiid.  One  of  (be  evils  to  which  (he  analy  sis  of 
personal  merit  is  subjec(,  ia,  that  it  is  held  lobealmost  north  I  ess,  except 
it  illusttates  by  comparison,  and  awards  precedency.  We  shnll 
nerarthelesa  avoid  this  insidioai  office,  and  being  fully  aware  of  (he 
ezOHd big  delicacy  of  weighing  and  estimating  powers  In  themselTes 
■o  various  nod  differences  so  minute,  we  shall  leave  to  othe^  to  d»* 
cide  (he  preference,  which  will  frequently  depend  ns  much  upon  (he 
predilections  and  habits  of  musical  a&iocrntion  in  tjie  critic,  as  in  the 
object.  Tliey  have  all  reaohad  a  rare  elevation;  and,  should  any 
of  them  dare  to  advance  a  positive  title  to  take  rank  above  his  fellows, 
he. will  find  his  pretentieiiseombated  and  balanced  perhaps  by  qnati> 
fica(ions  numerous  and  rare  as  bis  own,  thoagh  not  precisely  of  the 
same  species. 


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m 


THE  NEW  MUSICAL  FUND. 


T  HBprofesaorioftbBt  art  which  Btooncn  called  in  to  aid  benenx 
lence  and  allure  charily,  by  the  poweiful  Incifementa  1o  pleasure  it 
poiBesset,  have  not  neglecletl  Id  exerl  either  their  iieneficeficp,  or  their 
talentc,  or  llleir  atlracltvc  tolicitatioH*  in  bchniroF inch  oniieir  bre- 
&nn  as  Mf  be  bkikmhI  (o  noMnlty  or  to  auRerlng  from  any  of 
IboM  «au<c*  wbfoli  Mofiea  Kfflict  uisleDce.  la  oar  6r8l  valunte 
«!B  inaertfd  an  account  of  "  The  Fund  for  (lie  Support  of  Oecajed 
Uuiiciaua  and  their  FarailicBi"  and  we  iiow  proceed  to  record  the 
pirticukr*  of  "  (lie  New  Musical  Fund,"  another  locietf  eilablitbed 
for  Ibe  same  exrcllcnl  purpote. 

]t  appears  that  this  institatioD  arose  ont  of  certain  timilalioni  which 
tbe  original  society  thought  pioper  to  place  upon  iU  reception  of 
membera.  No  one  who  practised  any  other  profession  than  music, 
or  who  did  not  reside  in  London,  could  be  admitted.  To  obviate 
tbeeflccliof  this  exdusion  upon  a  iiDiMmM  bodjr,  whaMocoipi- 
tions  and  places  of  abode  did  not  Tatl  wiUiiii  tlii*  dauripdaH,  ni 
who  might  jet  be  in  the  practical  aenn  of  the  lenn  nHHariani,  ihs 
New  Fund  wo*  wet  on  foot— principnllj  bj  the  exeriiooi  of  Hb. 
Smart,  (the  late  treasurer)  the  father  of  Sib  Gbosge  and  Uk.  Hbm> 
BT  Smabt,  and  Ky  those  of  Mb.  King,  the  present  very  actife 
Mcretary.  Mb.  Smabt  was  not  only  amongst  the  first,  but  contt' 
nned  (o  the  last  hour  of  his  life  to  be  one  of  the  warmest  promoters  of 
the  welfare,  cbaracfer,  and  advancement  of  the  society.  Hit  ions 
CODtribuCcd  their  able  assistance,  and  his  solicilalions  procured  the 
BlIeDdaDCe  of  tbc  principal  talent  at  the  annual  concerts.  Nor  ought 
Mb.  King's  zeal  to  be  spoken  of  in  less  cordial  terms. 

Tbesociety  now  distributes  about  six  hundred  pounds  per  annum. 
The  fund  is  supported  by  life  and  annual  subscrUiers,  honorary  and 
profiMnDOBl,  and  by  the  profits  of  an  aaaaat  ccmcert.  Batwe  la- 
ment to  tay,  the  property  and  the  subscriptions  are  not  adequate  to 
relieve  the  numerous  daimand.  We  oanaat  therefore  refrain  from 
^praiing  a  hope,  that  Uie  pnbllcitj  we  tibne  glTa  to  the  want!  as  writ 


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329 


uto  tha-bownilnoe  of  [(>  object^  mny  unit  in  pfoooriag  that  aid 
wfairii  ewty  PMUiTrltofeali  thewUta  of  doing  a  good  action  and  Uw 
dbarros  of  art,  would  be  mdy  to  apply.  Profiadonal  members  paj 
one  guinea  enlrancei  anil  one  guinea  par  aniiuni.  Such  memben 
must  either  perform  at  (lie  anniinl  concert,  or  proviile  a  deputy, 
Evory  lioiiorary  subscriber  of  one  guinea  per  aanuiQ  receives  two 
tickeU  to  every  benefit  concert  of  Ibe  eociety,  and  any  one  subicrib* 
ing  ten  guineas  at  one  payment  nibo  receives  two  (ickets,  mid  \s  con- 
^d<!red  as  a  lubscriber  Ibi  life. 

The  Concert  is  generally  held  Inle  in  April  or  cnrly  in  May,  when 
a  selection  of  the  beat  music  is  performed  by  the  Sne&t  professors.  A 
short  lime  previnusiy  the  Society  meet  at  a  dioner,  after  whiob  there 
is  generally  mucli  excetleat  rocat  music  and  doets  and  on  the 
piiino  and  harp,  &c.    There  Is  no  collection  hawevei  nuule. 

The  fund  has  enjoyed  many  liberal  bencfaclars ;  amongst  them 
tile  late  Pbter  DaaTs,  Esq.  stands  pre-eminent  by  his  splendid 
donation  of  one  thousand  pounds.  The  names  of  THE  KING, 
four  of  the  Roval  DeKEs,  the  Dube  of  Hauilton,  and  olbera  of 
the  Nobility  are  also  found  in  the  list.  The  life  siibscriberB  now 
amount  to  upwards  of  150;  the  annual  subscribers  to  upwards  of 
590,  and  the  proressional  subscribers  to  IS5.  Such  are  Qte  leading 
features  ofthe  plan,  but  to  enable  the  public  and  Ibe  profeuion  in 
pailioufer  to  judge  afila  law*  and  conduct,  we  mbjoia  those  legn* 
latiom  by  wliicb  Ibe  Inttitation  is  at  present  governed : — 

l'>  That  every  prDfessienal  sabicribertothitinslitaflon  shall  pa^  one  guinea  on 
MSBiIiBfeElan,  and  continue  ta  pay  the  same  Eum  BDnually  at  quarterly paymeiiti; 
saeb  pajfiaentB  to  be  made  at  quarteriy  nieelingt,  to  be  held  at  the  Cmwn  and 
Anchor  Tavern,  Strand,  or  any  other  place  in  London,  to  be  appointed  by  the 
committee  and  rourt  ot  assUlantj  for  the  time  being,  on  the  third  Sunday  in 
the  inoothi  of  January,  April,  July,  and  October  m  every  year;  and  if  any 
nenher  of  this  Hxlefy  shai\  neglect  to  pay  bis  subscription  three  quarterly 
■Beatings,  the  secretary  shall  write  to  him,  iaforniing  him  that  be  is  three  quar- 
ters  in  «reara,  which  must  be  paid  on  the  fourth  quarterly  meeting;  and  io 
case  of  non-payment  on  the  fourth  qnirtevly  night,  sach  nember  shall  be  fined 
two  shilliiii{s  and  lii-penee,  of  which  the  lecretary  shall  send  hlcn  notice,  i»* 
forniing  liim,  that  if  he  does  not  puj  ill  hii  arrears  by  nine  o'clock  on  the  sMk 
uig  of  the  fifth  qaorterty  night,  together  with  the  Gnr,  he  will  no  longer  be  oorw 
sidered  aa  a  nkeinber  of  this  toclety,.  wid  cannot  be  re-admi|ied,  uiileia  it  em 
ht  proved  that  such  ooiiukm  did  not  oii|^iiate  in  himself,  but  througli  tlie  laoU 
ar  laattafltion  of  an  agent  employed  t»  ^scbargs  the  same;  the  said  agent 
ataUnsaiGdafitbefitreaniagistraitelalhBteKct;  such  affidarit  being lubjeet 
t»  tin  dadnan  o(  the  coowittee  and  oeait  oC  as&lanls.  Aad  if  the  delii^tar 
iM  lira  In  La^oa,.  A»mMbi7  *IhU  AUivr  the  aJbrtsddnoiiMa  Uoiaair,  or 
sMMa  tlwsv  la  UaJdiNtod  by  afmkoB  eaMpdMt  taoartify  the  Mid  ddisacr  aa 


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THE  NEW  MUSICAL  FUND. 


oath,  if  faond  neceisarj' :  ir  in  the  country,  he  sh&lt  put  tbem  into  the  gensnl 
poitoScain  Lombard  Slreel ;  but  ifwitbin  (he  liniti  ot  the  ttret^pCODj'  pott, 
then  into  nne  of  thi:  gc]icral  tecciiing  officn ;  proof  of  vh'ich  dellTeriet  bdag 
giren  to  Ihc  satisfaction  of  Ihc  committee  uid  court  of  auistanti  for  (he  time 
being,  (hill  be  deemed  fully  competent  to  the  e:q>u1sioa  of  eiery  member  so 
failing  In  hispajmenti,  suiiject  to  the  confirmation  orthenettgenaral  quarterlf 
meeting.  That  the  secretary  klull  also  keep  a  regular  account  ot  eiery  letter 
he  (ball  scud  an  this  busiiieis  in  a  book  proiidcd  for  that  purpose ;  and  in  case 
be  (ball  omit  sending  lite  regular  notices  to  any  member  who  ihall  be  three 
or  more  qoarten  in  arrears,  [ie>sball  pay  a  fine  of  two  tbiltings  and  siipence 
for  cTcry  notice  be  SI  omits  sending;  and  all  cooatry  memben  sending  up  their 
gubicriptions  or  arrean  to  the  secretary  or  treasnier,  dt  writing  to  theai  on 
account  thereof,  iball  pay  the  postage  or  carriige  tlierMf,  howeier  conieyed,  50 
as  not  to  be  any  eitrs  eipense  to  the  ■odety. 

3.  That  tip  perwHi  in  future  shall  be  deemed  ell^le  lo  be  admitted  ■  mem. 
ber  of  Ddi  ucietjF  wbo  doei  not  awkeioaiic  apr^e^tof  pait  of  ttopTorenioa; 
and  if  admitted  after  the  anaftweii^-iTe  vean,  Mihill  pijr  anegninwMr 
■onum  for  oTerr  fear  that  ihall  ban  ehqwed  firon  the  nld  age  of  tirenty>flTe, 
until  (be  dme  of  bis  idnluian,  which  said  sani  that!  1m  paid  at  the  (tme  ot  vi 
•dtnlssIoD,  or  within  three  ]rem,  or  the  person  so  admitted  ihiilnot  be  deemed 
■  free  member;  and  eieiy  member  so  pra[iosed  shull  produce  a  cerliRc^tc  of 
his  age,  and  also,  if  a  mvrted  man,  a  certificate  of  his  marriage;  and  noons 
■ball  be  admitted  under  the  age  of  twenty-one,  nor  abore  the  ai;e  of  forty 
jcm;  Htd  etery  member  entering  this  society  oT«r~Bged,  if  he  ihall  not  haie 
paid  hi*  OTer<age  money  at  (he  time  of  his  admission,  or  within  three  yeut, 
■hall  hare  notice  from  the  secretary  that  he  will  not  be  accounted  a  free  mem- 
ber till  neb  0fer4ge  money  is  paid. 

9.  That  three  anditors  be  appointed  by  the  society  at  large  al  the  first  gene- 
raf  meeting  held  after  the  annual  concert,  toinspect  the  accounts  once  In  eiery 
Iialf-year,  liz.  at  the  general  qoarterly  meetiagi  In  April  and  October,  and  on 
(he  nme  evening  to  report  the  nme  to  the  menben  preseatiin  order  that  thejt 
may  be  pr^riy  atated,  which  statement  sliall  be  signed  by  thenueliei,  the 
treasurer,  and  secretary,  and  laid  on  the  table  for  the  inspection  of  the  mem- 
bers  present  al  such  meeting;  and  erery  member  who  shall  be  appdnted  to 
the  office  of  auditor,  and  shall  not  duly  attend  on  the  regular  half-yearly  meet. 
Ings  aforesaid,  to  audit  the  accounts  of  the  sodely,  upon  due  notice  hating 
been  tiiien  him  by  the  secretary  for  that  purpose,  shall  for  erery  such  neglect 
forfeit  the  sum  of  ten  shilliiigi  and  six-pence,  and  In  default  of  payment  thereof 
at  the  next  quarterly  mcclini;  after  such  fi«c  shall  have  been  incurred,  he  sbatl 
theocebrth  be  cipelled  (he  society,  unless  prevented  by  illness  or  unaitridable 
absence  from  town,  which  eicuse  nmst  be  sent  to  the  secretary  in  writing, 
to  be  laid  before  the  general  u^eeting  for  Iheir  approral  j  and  that  at  thi* 
meeting  the  treasurer  l;e  required  to  lay  before  the  members  a  list  of  the  cbu< 

4.  That  the  members  of  the  committees  for  the  yean  ITftS,  ITS7,  and  1788, 
shall  be  coiiflitutPil  a  court  of  aisistanis  for  life,  and  shall  be  regularly  lum- 
moned  to  olleiid  all  commillees,  have  a  privilege  of  TOling,  and  gitiiig  their 
adTice  and  assistance  on  every  occasion;  and  in  case  of  the  defease  of  any 
member  of  the  court  of  aniitants,  a  ikw  one  sball  ba«lected  by  ballot  at  the 
neitquarterlymeeting;  but  no  member  shall  be  eligible  to  that  olBce  who  bat 
not  served  on  a  former  committee ;  and  erei;  maoiber  In  future  appolated  M 
■Ae  etart  of  asditanta  of  tbl*  «ode^  thaU  attend  at  least  fonr  tmrtttb\f  Heetinp 
lb  jw,  and  ia  caae  .or  M^M^  tb7  (IhU  no  lM|er  be  oouidMed  MMbM* 
efthenUcMitefuiiitaiKi,  ud  otheniball  be  (Kialoted  In  their  Mead. 


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VBE  tanr  udsical  fund. 


881 


'  B>  Thit  lie  trewnrer  «h»ll  deposit  the  raoncy  rcceiTed  as  soon  as  eonte- 
nienlly  any  be  In  tbe  hands  ofMessrs.  Kjitmi^r-U-y  ■<tiit  '■'•<■  ur  ur  burh  other 
baokenu  >h>1l  be  appointed  by  the  sm-ji'iy  :  ihci-c  lu  n'ln.iin  imlil  the  same 
■halt  Bnoimt  to  >  competent  iDm  to  b<;  invr-it^r!  iji  llu'  'Vint-::  pi-'i-  (.'out.  C'onso- 
mUedBank  Annnitin,  or  such  olhtr  scciirii:ic.<  ^-if  the  soi-'im-  tli,Llhi[i[irntcaf, 
akrifi  rettrtiag  ft  neceMary  lam,  not  eieeeditig  £100,  for  coiiiii^nidi's. 

6i  That  irlisii  the  nun  t)  rdied,'  and  intended  to  be  placed  in  tliu  public 
fondt,M  olbec  ■ecDiitie),  itahati  be  entered  bi  the  nanieiof  Tour  atockliotdGrs 
or  tradeei  tofliit  lodety,  in  bebalCof  thentsElTes  and  tlie  society  at  large,  now 
>SI«d  ladcdled  The  NewMuslcal  Fund;  tbai  Messrs.  Geo.  Smart,  Johu  Wilson, 
Fnuids  Stedonn,  and  Charles  Danby,  be  appointed  trustees  for  thefirst  £5000, 
and  Messrs.  G.  Villeneare,  John  Parker,  George  Amull,  snd  A.  F.  C.  Kotl- 
matm  (brflie  settMid  famtordieiikeiuiu,  which  laid  trostocs  shall,  as  soon  as 
conrenientiy  maybe  after  £SOO  slock  is  purcliaied,  and  also  alter  every  £500 
vhlch  mac  hereafter  he  purclused,  gire  or  execute,  a  declaretioD  o(  trust,  at  the 
request  orihe  society,  acknowled^ng  that  the  money  with  which  laeb  stock  or 
other  securities  were  purchased  was  tlui  proper  money  ofthis  society,  and  tiat  thti  i* 
names  were  only  maile  vie  of  in  tnist,  ttnd  tar  the  iKneRt  of  the  SaA  sodetr, 
called  llie  New  Musical  Fond:  and  that  no  more  than  jgSOOO  shall  stand  la 
(he  names  of  any  four  members.  And  in  case  oFlbc  death  of  any  one  or  mora 
i^tiietrusteeg  for  tiie  time  beiiiij,  in  nliosc  names  the  capital  ofthis  society  shall 
beitandtn^or  oflilB  or  (heir  d'a^ing  (0  be  iiiemberii,  or  desiring  to  relintiubh 
the  frost,  or  declining  to  act  Ihcn'in,  a  ^rucral  tnecHng  shall  be  called  as  soon  as 
oooTenieatiy  may  be  after  even-  such  uvtrit.  and  the  lacaiicy  or  vacancies  shall 
be  filled  up  by  ballot,  of  a  cnniinittce  and  court  of  a.ssls(ants  to  be  previously 
held,  subject  tollie  contirmation  of  such  jeni-ral  niefting,  ami  the  govirn  mcnt, 
oroUier  securiticsjOf  which  the  capital  Of  this  society  shall  then  consist,  shall 
lie  thereupon  immediately  transferred  and  assigned  into  the  names  of  the  sur- 
ibring  or.  acting  trustees,  and  of  the  new  trustee  or  trustees  to  be  so  elected 
u  aforesaid. 

7-  That  twelTc  meml»n  be  elected  annually,  at  a  general  meeting,  #lio  ikall 
tct.ars  committee  to  manage  tile  aflurs  of  this  sode^  (snch  members  to  lie  of 
one  year  standing  atleasi)  1  and  crery  member  so  diosen  shall  deposit  In  the 
treasnrai't  hands  one  guinea,  in  order  to  defray  the  expenccs  of  the  monthly 
meetings;  and  in  case  of  refusal  to  srric  on  the  said  committee,  nr  (0  deposit 
thes^  guinea  the  first  monthly  meeting  after  such  election,  each  member  so 
rehsiiw  shall  be  for  erer  ejipclled  the  society ;  but  no  one  who  has  seried  the 
add  olGce  once,  or  fined  for  not  serving  the  same,  shall  be  liable  to  be  nomi- 
nated.agaln  as  a  comniUlce-man,  until  dl'tbc  other  members  competent  to  Ibe 
sdd  office  shall  have  served,  or  lined  for  not  serving  the  Mme;  and  tltes^' 
comnfittee  and  court  of  assistants,  or  any  leren  of  ^m,  sliall  hate  power  to 
etKt  members,  anil  manage  every  other  business  of  this  society.  Every  tuch 
committee  to  continue  for  twelve  months  only ;  and  all  general  nnd  quarterly 
meetings  shall  be  deemed  open  coniniittee  meetings,  and  every  member  be 
raqncsted  to  attend  at  the  time  nppotiiicd. 

8.  That  e»ery  member  of  the  coiuniilipp  and  court  of  assisfanis  (the  treasurer 
eiEepted)  shall  be  liable  to  be  appointed  on  a  commillec  for  viiiling  the  sick, 
and  eiamiuinginto  oU  claims  on  this  society;  but  that  no  member  of  the  court 
otaHlstaDll  shall  be  cAliged  tosene  siecondtimeon  the  said  committee,  until 
eveiy  member  of  the  court  of  assistants  sball  have  served  once ;  and  that  at 
least  onaof  the  flsttors  of  the  sick  menlbcrs  shall  attend,  and  make  their  report 
ntantlily,imder  tiie  peaalfy  of  two  sUllllip  and  six-peace;  and  if  no  one  of' 
nch  Titltois  attend,  they  shall  be  finedfVo  shIllhigB  and  lii.ponce  each.  The 
fidtois  of  file  dck  ihaHHto^  be  appdnted  Intpeclors  of  d^au,  to 
TOL.  III.  MO,  XI.  X  X 


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332  THE  SEW   MI-Mr.M.  I'L-fJTI. 

inquire  into  the  real  litualioa  of  cncmliors,  or  Kidoics  of  mcmbtus,  tesiiling 
vitbin  tba  bills  oC  mortality,  claimin;;  relief  Cram  this  society,  so  as  Id  asccrtua 
fhat  they  are  proper  oUecte  Meording  to  the  laws  of  Ibit  societj,  and  to  pretent 
impoiilMa;  and  that  th^ds  raabetbeir  report  sttbe  nexttneetiiigi  and  tAm 
that  the  riutort  of  tba  uck  take  upon  thenuelTei  tbe  cans  of  mmtigiiting  the 
Modoct  of  mutenr  and  mlitteuei  towardi  the  children  appienticed  to  them  by 
thU  tocietjr,  and  that  they  do  nake  thelT  rgwrt  TertiaUy,  or  in  niitiii^  at 
erery  hal^jearly  neeti]]g,  imderfhe  peoal^  oftenihlUiDgiaDd  sii-peoce. 

S.  That  the  Mowbg  snnu  bo  paid,  in  cose  of  ^ckneis  or  death,  to  tbosa 
wba  may  be  admitted  penitonEis :  ((hat  is  to  laj) — 

To  a  tingle  man,  tvelra  poundi  per  annum. 

To  a  nuui  and  his  irife,  ttrealy^foor  pounds  per  annam. 

To  stridor,  Iwelie  pounds  per  annum;  orBudiothErsuuuBsIn  theopbuon 
of  tlu  nHundtlee  and  oouit  of  aiaietants  the  finances  the  lodety  diali  be  able 

Far  eiery  chili),  lawfully  begollen,  ithich  sliall  he  liiing  at  the  decease  of 

proiided  (he  rhilJ  is  bouuil  appreiilice  bpfori;  he  or  ^he  ii  fiflivci  years  uf  agt, 
to  the  satisfaction  of  the  society ;  aiid  when  a  widow  shall  desire  to  put  h;r 
child  apprentice,  for  which  the  turn  of  tea  pouads  is  appropriated,  she  shall 
pro  )ii  months'  notice  (hereof  to  the  committee  and  court  of  assistants,  who 
shall  see  that  the  said  child  he  really  put  apprentice,  to  learn  a  trade,  in  the 
name  nf  t)tr  society,  for  which  the  said  sum  of  ten  pouudg  shall  be  paid,  one 
tiiiir  im  fill'  I  \.  i-Li(bii  cifthe  indentures  of  ^prcnliccship,  and  the  other  lialf  at 
Ihi'  I'spfiiinn  ol'iliree  years,  proiidcd  the  child  continues  with  the  same  muter 

sistaiils;  m'i  in  (lie  case  of  orphan  children,  the  ollowuice  to  each  orfdiaa 
ciiild  shall  be  augmented  to  &>o  pounds  per  annum,  such  increased  allowance 
to  he  continued  only  until  they  attain  the  age  of  fourteen  years. 

10.  That  an  allowance,  not  to  exceed  Bto  pounds,  be  made  for  the  funeral  of 
any  free  member  who  eontinaed  to  the  time  of  his  death  a  subscriber  to  this 
fund ;  and  on  allowance  of  three  ppunds  for  the  funeral  of  the  widow,  ot  any 
mch  member,  if  the  drcarastanees  in  which  he  or  she  died  are  laeh  as  shall,  in 
the  discretion  of  the  committee  and  court  of  assistants  for  the  time  being,  ■ppev 
to  i«quti;e  mch  allowaoce. 

11.  That  DO  person  or  bis  family  shall  Teerire  any  benefit  from  ftds  fimd 
irbo  has  not  been  a  snbscrlber  three  years,  to  commence  from  (be'  time  be  his 
paid  hiaodinis^  nioiier,and  aembers residing  in  the  country  (nbo  apply  for 
relief),  ihall,  if  required,  prodocs  a  certificate,  on  inth,  signed  by  a  rtugististe, 
the  minister  and  churchwardens  of  the  paiish  where  thqr  lite,  of  thfir  being 
proper  oliieeti,  before  Ibm  can  be  admitted  to  receiie  any  benef  t  from  this 
Mdety;  uid  at  ^le  explradni  of  three  jean  from  tlie  dateofsnehadniHioD, 
the  committee  and  court  of  asditants  thiQl  be  enpoweied,  at  thdr  discretioDi 
to  bIIot  atn  lodi  penoa  or  persons  such  adequate  sum  or  *nm*  ai  llie  state 
<J  the  society's  finances  will  allow;  lucb  allowancei  to  be  settled  tiy  the 
nu^rltyofthe  committee  and  court  of  assistants  for  Hie  time  beings  on.  resolu- 
fions  to  he  by  (heni  entered  into  for  that  purpose. 

12.  That  erery  widuu-  petitioning  for  relief  shall  produce  a  ptoper  eerlifi- 
Gate  of  her  maniage,  and  likewise  an  affidavit  signed  by  a  magUttate,  with  a 
propermilHalblng  witness,  of  tier  being  the  identical  prson  mentionM  ia  Utat 
certificate;  and  that  all  persoiuwha^dy  for  relief  from  thissodetrihaJJ  pay 
Ibe expeuM of  certificatei,a^ri<^aDdBli proper doounenbi  and tkat their 


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ISK  MEW  MI'SICIL  l-VtiD.  833  " 

aUonKeihilldonuBBllcelroDi  tbe  fint  moiillily  Hireling  atlei  luch  documenb 
■bUl  Wo  iMea  pmnited  uid  ollovcd. 

IS.  Thit  all  widows,  or  other  peraMU  receifing  pensions  fi  nm  tliis  snciety, 
(nridlng  In  Lo^on,}  ihall  ntteod  the  treunrer  erery  Cliint  MoiliIuv,  ir 
IMidNd,  reeoira  tlla  tame,  ualen  prerenled  by  illneMi  and  tlial  all  siirh 
widows  or  olhet  peaiioiiera  reaiding  eithitr  in  towo  or  country,  iniy  huic  their 
(JlowKDce  p«id  to  tbdr.order,praTided  ffaoy  tnutsmit  ooce  erery  year  (or  oftener 
it  roqiured)  »  certificate  on  oath,  to  the  uthlBcUBn  oT  theMminittee  and  court 
or  aniftuita,  of  their  amtinaltig  widowa  of  the  deceased  inemlMn,  or  bdog 
proper  objecb  of  relief,  as  the  cue  may  be. 

Fonii  i,fa  IVido-^S  JBida^U,  daimbtg  Relltf. 

I,  A.  B.  ilo  tierehy  make  <wth  anil  ileciart',  that  I  still  nnlBID  the  iridow  o[ 

 — ,  laic  a  mcmbL.'r  "f  tlif  .Vi'«  MuHCal  Fund,  and  that  I  am  at  this 

present  time  not  niarrii:d  to  any  othi;r  niau.    As  witnras  my  band, 

A.  a 

14.  ^at  etery  widow  who  proposes  io  receive  any  lienefit  from  this  socii-ty, 
dull  make  herclalni  within  twelve  months  after  the  decease  of  ber  huabiuid,  or 
lie  tofaUf  excluded  from  any  future  lienefit  from  this  soeiely ;  and  that  no 
naaber,  or  my  part  of  his  family,  sliall  be  entitled  to  any  cl^m  upon  this  , 
M>de^,  who  are  not  resident  in  the  United  Kingdom  of  Great  Britain;  and  it 
My  indow,  a  claimant  on  this  society,  shall  marry  agaia,  the  atuli,  upon  pro- 
-dodsga  proper  certificate  of  such  marriage,  be  entitled  to  awidow"!  allowance 
fiH-  one  year;  and  if,  at  (he  ilealh  nf  kul'Ii  si'conil  lia9b>nd,ihe  shoold  be  left  in 
distressed  circumstance",  -h:-  ■■li.ill  In-  rr>'itle(l  I"  the  former  allowance,  ai  in 
the  case  of  her  first  widon  liDOtl ;  li'Jt  tin  li'mc  nS  sacb  second  marriage  shall  be 
entitled  to  any  allowance  hr  ribii  jf  mn  r>r  :^p>prGutice  fee  :  and  if  any  Hidow, 
a  claimant  on  this  sncii:ty,  tluiU  lie  rnutni  living  in  an  illicit  intercourse  with 
the  other  Mt,  hsr  widow's  allowanee  shall  immediately  cease,  and  the  shallfoi 
mr  aAerwardi  be  esdnded  fram  tllreliAaiid  benefit  from  thl'i  society. 

15>  That  ifonjrmenilMr^l  apply  Tor  relief  to  tlii^  snc'ieiy,  the  commitfaje 
•(ipoiuted  to  examine  the  dalimiball  with  alt  conienieni  sptxd  (after  an  appll- 
citioa  of  aoch  eUinnnt  by  petition  to  one  of  the  monthly  meetings)  visit  the 
■aid  member,  and  deUier  their  report,  signed  by  them,  to  the  treasurer,  who 
-afaall,  if  occasion  requires,  order  some  relief  immediately,  and  Uy  the  report 
before  the  committee  and  court  of  assistants  at  the  next  monthly  meeting,  who 
shall  order  what  allowance  they  tblut  necessary,  not  exceeding  fifteen  shiU 
linga  perweek,  to  be  paid  to  gocb  member ;  and  one  of  the  committee  for  Tisit~ 
log  the  lick  or  diltreiied  n  em  ben  ihall  Tiiit  the  nid  member  once  at  least 
tuerf  wedc  during  bli  nineM  or  dlttresi,  if  witlda  Ote  trill'  of  mortality,  and 
npwt  the  atale  at  b'u  bedth  or  Atrew  to  ths  eoumittee  and  court  of  assistanls 
«teiy  monthly  meeting. 

16.  That  there  be  a  mcr'tins  of  the  eoniTiiittee  and  eoart  of  aEtislanIs  the 
third  Sunday  in  etery  iii™ih,  fur  ih  ■  inii-])n.e  of  conducting  the  afiaira  of  thli 
miety;  at  iihlcli  mc-tln^^  tlji  y  ■lu'.j  .i.w- -a.  )iower  .of  s^nitUng  penooi  to 
Mbseribe  to  thh  fund;  and  ikaL  iiu  piTsun  sliall  be  admitted  a  member  till 
three  months,  or  ou<;  ^^lim  ra!  iiir'i^iiui;,  afii^r  he  is  proposed ;  which  proposal 
«hall  be  in  vrriliiig,  stating  the  name,  age,  and  family  of  the  candidate,  signed 
by  himself,  and  also  by  the  proposer,  and  which  paper,  so  signoil,  shall  he  hung 
up  in  the  room  at  the  aforesaid  general  mectinf;,  for  the  inspection  of  the  mem- 
ber) at  large,  before  such  candidate  is  ballotted  for. 

17.  Tkid  any  person  gtiiiq;  in  a  wrong  statement  of  the  particalm  required 
ofhin  •tthetimeof  hii  pnfNBal,ACCordmgtD  the  foregnng  arliole,  shall  for 
weh  offiMKs  be  no  l«agar  nudiileNda.inejaberottbliMde^,  m  antUled  to 


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TBE  HEW  mMGU.  tvm. 


■«r<rf(hebew«alliMaf,  bntdidlfmMbeMrfRth  Mod  fct  aver  MdiM 

tberdrom. 

IS.  ThatMdlomacewfariefsrthaHlwtMdeotttofaerDadioraiiwcle^ 
to  Ihe  coisailttee  and  amrt  of  Ksiitnti  {brthsUnM  being  (bilhaeipewatM 
th«Mld  mnntMy  inodingi,  bat  that  wdi  atpancM  ihdl  b«  buciie  by  tbamdm 

FMpectiTely, 

19.  That  if  all}' member  oMhc  rommittee  or  court  ofasmiitanti  ihall  reeein 
any  sHowshcp  out  of  the.  funds  of  Ihi>  society,  he  ahall  be  remorcd  from  tbo 
eald  committee  or  court  of  ofussiiitanli!,  and  anollicr  appointed  in  hii  iteid;  aai 
ttiat  every  member  receiving  occutonal  relief  from  tbc  nodclyihall  eaDttnneta 
pay  hii  lubscriptian,  but  iliall  be  rendered  iac^qiahle  of  voting  on  uij  occuhio 
whatever  t  ud  if  put  lui  i^our,  and  be  ihonid  be  tbanght  a  fit  object  tar  a 
peadon  toi  life,  tbo  pnymonl  of  bb  tobtcHptton  Bumey  Mtt  from  tUt  Him 

2a.  That  the  coniinittce  and  court  of  aitiitiiMi  for  tbe  thie  being  ibnll  <mU 
a  general  mi^etiiigof  the  aociely  from  (iiiicto  time,  as  occasion  may  require,  or 
apoii  It  request  in  «rilini;,  sif^ie^lbir  onj  tvrcnl]'  of  the  member*,  ^NiolfyiDg  tbe 
purpose  for  which  such  mcctiug  Is  called. 

21.  That  an  annual  concert  be  performed  for  the  benefit  of  thii  lodely,  at 
■acb  time  and  place  as  the  committee  sbaU  appoint ;  on  Khich  occasian  CTery 
member  shall  gito  bii  ntmoft  MiittiDca,  and  for  every  neglect  ttaaieof,  or 
refilling  t»  talce  the  port  atiotted  Mm  M  Hie  rehewsU  or  p^rfiMtnance,  after 
Inrinj  reodred  doe  notice,  be  tbaU  be  fined  tbe  ram  of  ten  dilllingi  and  rix- 
pence;  and  ttatall  members  wbo  Quuwt  attend  perunally  mast  give  tendvr' 
Dodcefe  the  committee  appointed  to  conduct  the  concert,  who  wQI,  at  tbe 
eipeaoe  of  tbe  abcant  member,  provide  a  proper  substitute,  and  no  other  bnt 
tneh  ai  are  ^iprored  In  tlnm  inBll  be  admitted ;  anti  that  any  member  quit- 
ting tbe  DrAertm  vitbont  permission,  or  retiring  (o  any  part  of  the  boose 
during  tbe  general  rcheareal  or  performance,  ahall  be  dned  ten  ahimnga  ud 
sixpence;  and  in  default  of  payment  thereof  at  the  neil  quarterly  meeting, 
after  notice  from  the  secrelar)',  he  shall  be  expelled  the  society. 

39.  That  all  such  pi^rsons  as  may  bave  been  proposed  to  become  menben  of 
tbis  gocicty,  but  rejected  by  the  committeo  and  court  of  saiitanti  at  a  monUilp 
meeting,  may  apply  by  petition,  ligned  by  fifteen  memben,  vrbo  are  not  of  (be 
eommiltee  and  court  of  assistants,  lo  a  genera]  meeting,  vldch  peUliKi  rhall  be 
presented  to  the  fint  general  meeting  after  inch  njectioo,  nd  be  detWhwd 
at  the  ensning  general  meeting. 

iS.  That  all  persons  having  been  elected  memberB,  Bhall,  alter  hiring  bad 
notice  of  such  election,  sign  the  articles,  andpay  Iheir  edmisdon  money  irithlB 
the  ipace  of  one  month  from  the  date  of  the  said  notice,  olhenriie  theynill  not 
be  considered  as  memben,  but  they  will  be  permitted  to  appeal  at  a  general 

aide  in  the  counlrt,  atiil  u  lio  cjiimtt  attcLid  penoaally,  tbe  prtpoHn,  In  that 
we,  will  he  iicrni'iltrd  to  slsn  for  them. 

S4.  That  all  nfliccrs  in  thi^  society  be  elected  aBDCdhr,  at  tke  gOMral  KhU 
falgia  April,  by  the  committee  and  court  of  BMiAnti  br  the  tiOW  bdl^  Md 
confirmed  by  the  said  ^'pni-ral  mfi'ting. 

SB.  That  a  collector  be  appointed,  whose  buiiness  it  shall  be  to  deliver  tbe 
fiekflti  to  the.  bonorary  sobscribem,  and  collect  Iheir  sob «crip lions,  for  which 
he  ihall  be  allowed  five  pounds  per  cent,  on  all  monies  ee  eollcclcd  or  recoiled 
by  him  from  the  honorary  subscribers  lo  this  snriety. 

SO.  That  a  person  be  appointed,  at  soon  as  pDnibfe,  lo  ereiy  ^Rladpal  town 
ta  tbe  coimtiy,  imdflr  tbe  title  of iirtiiAHM  nfwrMniiMf  win  thdl  act  W 
rtfmmmn  •(tUs  mtMy  wMAi  tin  dbMct  ribMUM  ,■'  nom  MtaoHp- 


THE  HEW  HUSIGAL  FUND. 


335 


tioDt,  and  traiinnit  them  to  the  treaBurer  ;  recommend  candidate!,  and  sign 
their  proposals  for  tbe  iati>ractiaa  of  the  comniittec,  prior  lo  their  being  bal. 
lotted  for ;  and  that  the  lodet^  ihall  indeniDlf)'  the  said  penons  so  appointed, 
la  all  Decenary  oxpencel  attendbg  the  i^d  sppoiatments. 

S7.  That  ereiy  mshilKr  remoring  fnnn  any  described  placs  d(  abode,  iball 
gin  notice  to  the  iccrelary  In  nriting,  adrlresied  to  his  own  hniue,  of  the  ft»ca 
toirhidlbe  remoVei,  within  one  monfli  after  pvory  such  remoraI,»ria  deGnlt 
tiiereof  shall  forfeit  and  pay  the  ;um  at  toa  iWiWinfts  and  sixpencet 

28,  That  erary  member  who  !>tiall  hate  n'CuiFi^d  iintlL:c  of  delinqoHK^,  llwll 
pay  thawhde  of  Ml  arrears,  under  the  penalty  of  the  soriety's  lawn  And  that 
the  •ecretaryitialt  not  take  a  part  of  such  aircar;,  or  in  any  manner  compro- 
ndie  for  the  nme  on  any  acoonnt  cn  pretence  whatsoerer,  nndet  the  penalty  of 
one  guinea. 

89.  That  in  consequence  of  tlie  frequent  non-attendance  of  the  members,  the 
cemmitfee  and  court  of  assistoots,  and  erery  other  member  of  this  society,  shall 
beoUlged  to  attend  every  quarterly  meeting  under  tbe  penally  of  one  shillii^ 

30.  That  eiery  member  of  this  snclely  who  shall  apply,  or  stand  proposed,  ai ' 
a  candidate  for  admission  to  any  other  society  of  musicians,  shall  not  lie  const- 
dered  any  longer  a  member  of  Ihis  society,  or  be  entitled  to  any  of  the  benilRIl 
thereof,  hnt  ihall  from  thenceforth  stand  toreier  eicludod  Uierofram. 

31.  That  erery  member  making  a  molioii  at  the  monthly  or  other  meetings, 
■hdl  commit  the  same  to  nritiug,  ^gned  with  his  name,  which  shall  be  entered 
in  the  mionlw  of  tbe  night  in  the  same  words  in  which  it  is  proposed ;  and  the 
original  thall  be  filed,  in  order  that  the  same  uiay  be  referred  to  as  occasion 
majr^uire. 

S3>  TiM  emy  person  snhscrihinj  the  snm  of  ten  guineas  at  one  payment, 
•hnll  be  conridered  as  on  honorary  member  of  this  society  fm-lite,  and  be  enti- 
tled to  two  tickets  for  the  aaiiual  benefit  concert  of  the  society. 

33.  That  eiery  member  who  shall  be  appointed  to  the  conrt  of  asslitants  of 
thlsiodety,  shall  pay  the  wm  of  one  guhtsa,  wMeh,  ttgcAer  iritli  thetr  finca 
for  non-attendaoce,  shall  fmn  t>m«  to  lime  be  applied  in  defraying  tbe  «B- 
pcnccs  of  the  committeeandeoart  of  Mtittanbat  tin  monthly  and  ouier  meet- 
ings of  the  society. 

34.  Tliat  a  special  caminiltee  beappoltited,  once  in  eteiy  icrcn  yearsatlha 
least,  to  reifae  the  laws  of  fldisodety,  and  to  make  sudialtera<iDn<  nrarldliiotis 
tbei«hiM  nay  rran  Hum  to  time  be  fnmdtapedieirt,  inbject  <d  the  connruia- 
tlOB  of  a  genial  meeting. 

9S.  Thatany  of  the  law>,artidei,ori^latiDDSar  this  society,  which  ma; 
either  not  be  properly  understood,  or  may  admit  of  mistaken  interpretation, 
shall,  to  prerentany  litigation  or  dispute,  be  construe  land  finally  determined  by 
tbe  majority  ot  the  committee  and  court  of  assistants  for  the  time  b«ng,  accord- 
ing (a  tbe  true  spirit  and  meaning  of  the  institution  of  the  society ;  and  all 
•(peoces  arising  from  any  litigations,  and  in  which  the  society  may  bo  inrolrcd 
in  consequence  ot  such  misinterpretation,  shall  be  defrayed  by  the  person  so 
cUmiog,  contrary  to  such  the  true  intent  and  meaning  of  the  society;  and  tliat 
In  all  cases  not  provided  for  hy  these  articles,  the  committee  and  court  of 
MristonlS  for  the  time  lieing  shall  Itave  power  to  frame  roch  further  resoluliom 
and  byelawiM  &om  time  to  time  may  in  their  judgmentaeem  necessaiy;  inch 
TeHrindons  and  bye  lawi  to  be  laid  baore  the  lodity,  at  a,  geneial  meeting  tor 
Eon6rauthHi;  and  the  uue,  yfbea  to  confirmed,  thall  be  from  theocebrtb 
adopted,  tuta  nbsened  bf  tmrj  nemlwToriMa  todety. 


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m 


JrUroduelhn  to  the  Roytd  Patent  Hand  Mouldt,  lo  faciUtate  the 

Phi/ing  OH  a  Keyed  Instrument ;  Owenlcd  bi/  P.  Ilaxehcr,  Esq. 
Iliiigslon.  Londoii. 

Major  Hawkeii  lias  long  been  diatinguishcd  as  hii  amateur  pinna 
foife  player  of  great  acquiremeals,  and  it  ihonld  itov  teem  that  be 
bat  gWen  titt  practice  of  the  art  much  pliiloiopliical  coiuidemlion. 

If  (lie  lUiiler  part  of  Ihe  hand.aDil  wriat)  as  far  at  tbe  knackles,(rf 
a  plajer,  vbeo  addresied  ta  perfonnance  on  the  piano  forte  id  the 
beri  possible  poiiiioa,  coold  be  pressed  upon  a  bed  of  tUty,  tbe  im- 
proMion  fbus  giren  vould  Gonvej  the  actnal  tbtm  of  the  Hand 
Moulds  invented  1>j  tliis  gentleman.  They  are  thus  modelled  in 
vood  or  IcBllicr,  nnd  altaclicd  to  tbe  wrist  by  a  band  ond  clasp.  To 
the  botlnin,  dirccUy  under  t!ic  part  nhich  miaes  tbe  ball  of  the  thumb 
and  parallel  wiVi  ihc  kruicKlcs,  a  wofdcn  groove  is  affixed.  The 
grouvc  19  bi>  iilli'il  iis  lu  mil  n  riid.  nliidi  is  placed  at  any  given 
Iinglit  by  a  aniiiilc  iip]iir^iliii  iipnii  bilge  oF  the  piano  forte, 
which  lies  below  tlic  keys,  niiil  IIili^  tlic  ivri>t  and  hnnd  arc  me- 
chnnicaUy  compelled  tu  rccoivc  llie  bi-at  possible  position  on  the 
lusuuracuk 

The  advantages  of  this  invention  are  described  to  be — 

"  I.  Tlial  (lie  Hand  Moulth  being  made  to  slide,  mallicmatically 
true,  it  becomes  impossible  lo  use,  with  them,  any  dislorliun  of  the 
hand,  or  improper  motinn  of  llic  arm  in  parsing  the  Ihumb;  but,  on 
llic  cnnliary,  it  cannot  be  used  otherwise  than  in  the  true  position  of 

■2.  The  r!.riniiliiin  of  (lii-so  Moulds  is  siirh,  that  it  becomM  llic 
greiilest  ditficuliy  lo  piny  in  Ihcm  wirh  cilhcr  siraiglit  UngiTs  or 
cramped  knuckles;  and  consrqnenlly  the  position  of  a  well- rounded 
hand  is  that,  which,  in  this  machine,  would  be  chosen  bj  the  com- 
plete novice. 

3.  Immeme  strengtb  is  herebj  gained  in  the  fingers,  hy  rendering 
Ihem  independent  of  the  band,  and  the  bad  habit  of  leaning  on  Ihe 
vcnker  part  of  the  band  is  effectually  prevented. 

4.  ' The  whole  of  tbo  scales,  and  all  kinds  of  exercises  for  passing 
the  Ihnnb,  more  or  less  connected  with  them,  may  be  played  in 
these  moulds,  with  the  impessibiUty  of  using  any  inelegant  or  tia* 
necessary  motion. 

H.  B,  It  will  be  of  no  avail  to  attempt  playing  a  whole  i^ece  of 
muslo  vitfa  this  apparatus :  tbe  object  of  it  u  to  pntctiso  deucbed 


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THE  HAND  UOtlLDS. 


337 


panBgei)  ithick  an  railed  to  its  purpose,  and  by  ivbich  meant,  t^Ur 
remtmng  it,  fRciUty,  rmi^y,  and  atliculalion,  will  be  acquired  in  a 
Terr  gceal  degree  for  uie  perfomnnce  of  tbe  whole :  bnt  while  using 
it  the  pupil  i»  moH  eamaUjf  nguesUd  to  play  blow,  and  pfists 
WBLi.  OK  TSBHAHD,  oT  the  objoi  of  this  mooOioR  siU  (le  TOT t.mY 

Major  Hawkbs  lias  accompanied  Lis  invention  with  inlroiluc- 
lory  lessons  anil  remarks.  We  would  reooramend  Ihe  philosopliical 
■pirit  ill  whioli  llieae  are  vritten,  (o  (lie  aasiduoiis  study  of  those 
vbo  frould  entertain  clear  notions  tc^iicctin!,'  the  process  of  fioger- 
ing — iho- Tery  foundiition  of  good  perfurmanee.  We  demur  indeed 
to  the  sweeping  anertion,  tliat  motion  of  Ihe  hand  can  be  avoided  fry 
na  other  tauau  than  bjr  "  pressing  the  band  into  a  mould,"  simply 
beeanie  the  million  ofplayeri  bava  been  made  without  the  aid  of 
mechanical  expedients — to  which  experience  can  yet  have  given  no 
adequate  sanction  ;  but  wc  arc  at  the  some  time  ready  to  grant,  that 
the  Hand  Moulds  do  give  an  elegant  and  an  elcellont  position  at 
once,  that  insomuch  they  spare  explanation  and  preclude  mistake, 
and  that  even  to  the  most  casual  observer  tliey  coulirm  Ihe  favoraiile 
adminion  in  their  behalf,  those  great  proressors,  Mr.  Clementi 
and  &f  R.  Craheu,  hare  not  scrnplcd  to  make. 

Bnt  to  return  to  the  merits  of  Major  Hawkbd's  syGlcm  of  inci- 
pient tuition.  He  ditTuTs  from  former  instructors,  principally  in 
camtneucing  with  an  endeavour  to  give  freedom  and  equnl  strength 
to  each  finger,  by  teaching  the  use  of  each  lepantely  yet  conjointly 
as  it  were  with  Ifae  ictt,  by  keeping  ona  in  sucoesuve  motion  nud 
the  ofhen  pmdng  down  their  WTeral  keyi.  He  next  proceeds  to 
aa  example  which  empI(v*etob  in  ■ncceHion,  and  bere  be  again  in- 
troduces a  judicious  novelty  in  varying  Uie  accent,  not  by  varying 
the  position,  but  by  commeDCing upon  the  tecond  note  of  the  com- 
mon series,  by  which  he  putpoKS  to  confer  strength  ilpon  Ihe  fingers 
DEUEilly  the  iveahcst. 

"  Having  (in  his  oivu  phrase)  ^ol  the  thumb  and  lour  fingers  to 
pl.iy  well  ant!  indepcmlcnt  of  each  olhcr,"  the  Major  slati-s  the  next 
step  to  be  "to  diversify  tiic  notes  upon  every  possible  chan^  by 
which  they  will  still  further  improve  in  equality  of  lone."  To  this 
intent,  tliree  pages  of  variouschnnges  are  superadded,  wbloh  hare  tlie 
one  capital  object  in  view  and  that  only. 

The  second  pert  iltastrates  more  fully  than  has  Ijeen  tlie  custom, 
.  tbe  practice  of  exteuionaail  conlraolion,  and  (hlu  is  done  also  npoa 


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srstooatio  prindplM.  From  "  tfca  IwIb,**  "  a  chain"  ii  combineil, 
and  extended  at  far  as  it  can  be  nadtf  the  limilsUoni  imyned  by  te- 
mainiDg  in  a  nttaral  ki^. 

ftitt  3  k  <■  on  ihifting  or  patun|r  Uio  Aoinb,"  wbtolt  b  alto  iMated 
gradoBlIf  and  (yilemnliciillj.  An  illuitralion  of  fingering  scales, 
agreeably  to  the  doctrine  of  Clehbnti,  clotes  Uicm  brief,  bulasKC 
eal«eni  them,  ingenious  and  able  directions. 

AJter  this  analjiis,  it  remains  only  for  us  to  state  tlie  advantages 
and  diaadvantages  of  tba  instrnment  Majdu  Hawker  Iibs  in- 
loated;  ire  must  bowever  prenuse  llmt  the  experience  ne  Iiave 
bad  of  ill  B&ct»  is  nwewarily  very  iMuffloient  to  determiiiB  ila  posi- 
tive merils.  Tbe  Hand  Hmilda  cetteiiily  conrey  tbeexaatiwtioB  of « 
jtutporilion.  Tbewi%itiMnie,apaMibill^tbattiwpnpUnlBy'stra(oh 
tbe  fingers. Bbai^t  instead  of  angling  them,  but  this  inomnotv  that 
no  candid  man  nould  ntalte  it  an  objection.  The  fear  tb^  is  more 
obvious  is  tlic  danj|[cr  of  indulging  such  a  pressure  upon  the  rod, a* 
might  generate  n  liabit  uf  leaningand  a  want  of  aupport,  so  that 
irhen  tbe  iiieclianicnl  aid  is  removed  the  wrist  may  drop.  But  even 
this  foar  is  abated  if  not  deitrojed  hj  the  inevitable  pressure  nbich 
must  take  pluccjust  under  the  knuckles,  and  which  of  course  lessens 
Ibatendcnc^  toffBrds  pressure  bythewrisl.  The  chief  merit  of  the 
invention  app«ara  to  us  to  lie  in  Hie  assislanoe  it  can  scarcely  fail  to 
give  to  tbe  weaker  fingers,  llic  tbird  and  fourth,  and  to  tbeenlire'pre-' 
ventive  itofibn  against  employing  the  sides  as  a  refuge  againsb  ivanl 
oCstmiglh  in  Qm  endi  of tbos»fingetB.  Wc  think  altoit  niaf  beom- 
ployed  very  niaRilly  aa  a  Qorreelive  ofbaA  habita  la  tiiow  who  ma^ 
unforhmatdylMTeinduIgsdiiiKBcb.  Bat-Mbegto  be  ondentoodi 
as  not  adVQoatlng-the  amployinent  of  sucb  aids  to  any  the  sligliteal 
exceu,  and  only  as  asaistanla  totbejndicioiu  preceptor.  WedepiC' 
cote  altogether  an  extravsgant  estimation  of  or  dependence  npon 
mechanical  aids,  and  we  must  do  Major  Hawkbii  the  justice  to 
admit,  (hat  be  appears  to  harbour  no  such  intentions  in  tbe  produc- 
tion of  hts  invention. 

We  doubt  the  power  of  the  Hand  Moulils  to  assist  the  student  (o 
any  considerable  degree  beyond  a  Hxed  position.  The  thumb  Hp- 
pears  to  us  to  be  passed  with  difGculty,  and  it  would,  wa  tllinkt  im- 
prove the  machinery  if  the  segment  of  the  circle,  in  wfaidl  Ibe  rod 
runt]  werecbanged  for  an  satire oiMolar ring;  for  iM-bave  obaemd 
in  one  of  the  popils,  vhow'  liUis  Sagot  vat  very  abort,  Ibat-  tbe 


THE  HAND  MOULDS. 


3.99 


ttinmb  end  wai  raised  and  the  other  (lepresied,  and  a  fulse  position 
therebf  obtained i  while ia  aoother,  who  ftom  weakness  bad  got  into 
■  habit  of  Diiog  the  aide  of  the  little  Soger  ingfead  of  the  end,  the 
■aoieefitet  vaitobetemaTked.  Wesubmittheseobservationi,  liow 
ever,  with  a  diffidence  becomitig  our  very  brief  experience  of  the  lua 
oftbe  Honlds.  We  can  but  be  pleased  with  (he  philosophical  method 
imparted  (o  the  instructions.  They  diSer  from  other  elementary 
works  in  this  particular : — Ihey  stale  the  object  to  be  attained  clearly, 
and  they  adhere  lo  its  demonstration  singly  and  solely  ;  in  a  word, 
Ihey  illustrate  principles  as  they  rise,  in  Just  succession  dnd  by  just 
degrees.  Other  lesson  books  mis  and  confound  dilTereiit  part^i :  they 
mingle  amusement,  it  is  true,  by  enabling  the  pupil  to  play  lillte 
pieces  of  agreeable  melody,  while  Major  Hawkdu's  plan  Iios  not 
been  miscalled  by  him  "dry  torture,"  for  it  excludes  every  thing 
but  severe  practical  usefulness.  His  inslmcUoDs  cannot  therefore  be 
med  long  fc^ether  ot  -alone ;  Ihey  are  lo  be  judicioiuly  applied  In 
Gonpany  wt(b  other  lesson*.  Tet,  nev«tbeless,  they  who  hare  the 
sense,  the  courage,  and  the  industry  to  understand  and  pome 
the  metiio^  be  incolcate^  will  be  rewatded  fbr  their  eariy  pains,  and 
itihootd  never  be  foq^en,  since  we  are  afraid  It  can  never  be 
denied,  that  the  lecompence  for  the  first  hbonra  oT  atttining  the 
pbtno  fbrte  always  oomes  at  a  late  periM  of  (he  expeiunent. 


A  dramatic  Fairy  Scale,-  the  Words  by  Chat.  Ilal/etl,  Esq.  the  Music 
eqmposedby  Ttmaaato  Rovediao  (opera prima.)  London.  Power. 

This  is  a  pretty  little  woib  ot'htuy,  in  the  form  of  a  concerted 
cantata,  reqniring  three  or  more  toice^  as  it  mixes  ledtatlve, 
nog,  terzetto,  and  chonu.— These  mietiei,  however,  confine  npon 
it  an  extended  power  of  aniiBemeot,  and  fit  it  to  give  a  more  con- 
nected a*  well  as  a  more  protracted  interest  amongst  chamber  mosic 
Ibanbelongs  to  an  ordinary  SDCcetsioifofBelectedpiecei.  Theicene 
images  the  relation  of  a  6uij  adventure  as  (old  by  the  ministering 
Spirit  to  the  master  Genloi.  He  has  connnanded  the  piesentatioa  of 
vol..  III.  Ko.  XI.  r  y 


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S40 


sorntnio'i  fairy  bcue. 


■ume  "  peeitcsi  fair"  to  a  Prince  in  his  slDinben,  vbo  had  no  coonor 
become  enamoured  of  his  visionarj' mistress  Ihan  she  is  analcIifU  from 
Ills  sight.  Tlie  Spitits  will)  Imvc  performed  Uiisservict,  tclurn  and 
narrate  Ihc  oxtculiuii  of  IliL'ir  commiaiiLuii. 

The  cantutu  commuJice^  w  ith  a  (aiiy  march,  the  subject  of  which 
is  taken,  we  presume  (from  Ihe  notorielj  of  the  melody)  by  design 
from  a  well-known  passage  of  Plevel.  A  recitative  opens  Ihe 
vocal  pail,  and  is  followed  hy  a  lerzeUo  foe  two  (rcblct  and  a  basi, 
of  a  very  sprightly  anil  Dot  an  indicant  cut,  "HUher  /loci  #»  Eha 
ofNigM"  which  annonoces  the  appearaQce  of  Maimoaii^  the  fairy 
ytbo  has  peironned  the  chief  part:  like  Ariel  she  natrates  the 
doing  of  her  moitet's  "  errand,"  in  a  recitative  and  pleasing  air ;  the 
first  moremenl  of  irhicb  is  tender  and  pathetic — the  last  in  the  «ni- 
roaibg  measure  of  the  polacca.  We  prefer  the  former,  for  all 
polaccas  are  to  our  cars  nearly  tlie  same.  The  fault  of  this  is,  that  it 
is  too  chromatic — a  common  error  amongst  young  composers,  and 
which  Ma.  Rov£iii,\o  has  aUo  fEillen  into  by  places  iu  the  con- 
cludii^  chotiu,  where  to  bestow  novelly  be  seems  to  us  to  liave 
nanilered  into  a  qnain^  not  to  say  confused  arrangement  of  his  har- 
mnnies.  But  these  are  trifles,  and  as  a  whole  we  consider  this  hit 
first  attempt  ai  creditable  lohlnuelfand  as  likely  to  afford  a  pleasing 
addUion  to  Ibo  lesoarccaofsniaU  parties  vbo  make  mniic  a  source  of 
domeilic  solac^  and  employ  it  to  enlarge  the  sphere  of  Ihe  entertain* 
ment  they  extend  to  others.  The  vork,  moreover,  is  elegantly  and 
cheaply  put  forth ;  it  may  be  thought  ornamental  at  well  as  useful, 
and  it  introduces  a  new  patron  of  mnsic  in  the  person  of  our  Com- 
mander in  Chief,  bis  Royal  Highness  the  Dokb  of  Youk,  whom  we 
are  very  glad  to  see  thus  acknowledged  to  possess  some  taste  for  the 
art,  in  which  the  rest  of  Ihe  Ro^al  FamUy  are  »  well  skilled  and  to 
-which  they  are  so  decidedly  devoted. 


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Cnmr'tiaw  Vuia&m  m  Mixmft  J^eorta  Jir,  "  Deh  praidi  m 
■  Mee  amphm."  Loodoov— (Fiw  Uw  Aatbor.)   By  the  Roykl 
HMnwnic  ImtilutiaD. 

Fmlaiia,  iit  sAicA  it  hOroAieeda  femrUe  Air  liasse,  wUh  entirely  naa 
Pariationr  for  the  PiaaaForte ;  by  J.B.Cramer.  Loadoa.  (For 
tbc  Author.)    By  the  UuinDitic  Inatittilion. 

'  The  choice  of  a  aubjoct  for  varialians  Bhould  seem  to  be  particu- 
hrljr  fottuuale,  when  tbe  Ihcmc  contains  in  itself  a  poner  of  contrast, 
and  t«be  capable  eitlier  of  a  bold  or  a  delicate,  a  tender  or  a  fotcefnl 
exproaMon.  Of  mch  a  natQru  vre  ibauld  eatcera  the  air  to  be  vbick  - 
Hki  CftAMBn  hm  here  sdectec^  end  his  treatment  of  H  U  not  lea 
Mkffetis  than  hit  judgment  in  tbe  selediDn  bas  been  happy. 

Hi»  IntrodBOtion  has  sufficient  strength  and  varioty  of  (hmight  to 
give  it  a  novel  and  ingenious  turn  at  least — originality  perhaps  i«  a 
word  we  must  hardly  expect  to  use  an^in.  But  if  over  we  miy  use 
it  with  justice,  we  think  it  may  be  as  a  (jooeral  term  applied  to  Ma. 
Cbamer'b  artfal  and  biglilj  beautiful  miinner  of  composing  varia- 
tions. For  if  it  be  a  proof  of  cinincnt  skill  to  Iceep  the  subject  con- 
stantly and  freshly  in  remembrance  tvitliout  such  repetition  as  to 
cloy  the  ear~if  it  be  amongst  the  desiderata  to  carry  into  the 
MVoal  partt  ft  ngnlwity  af  dadgn,  niob  as  is  exhibited  by  qnad- 
raptBta,lr3pM^  and  toadminttter loan anlicipalioii  nhich  gra- 
tifies the  auditor  in  findlag  hii  doit*  fotfllled,  aiioiding  always  the 
■amaaeH  aocompanies  the  coroplete  exhaustion  of  such  model 
of  ex|)DUMOD---if  it  beconitderedasa  proof  ofsci«Dce  to  inlrodocB 
a  discourse  as  it  wore  between  Hm  parti,  in  wfatoh  (be  temal  repH> 
cationi.aball  ham  Ibe  characteristics  of  elegant  and  pointed  amwen 
in  ooammliim— 4f  it  bo  thought  ingenious,  by  changes  of  time  and 
wntiment  to- give  new  (baliira  to  the  labjecl,  and  to  make  s  new 
impteuion  at  erei;  torn  upon  the  hearer,  anch  for  instance  ca  by 
eonTeitiDga  touching  piece  of  melody  into  a  bold,  atriktng,  or  fan- 
ciful mavemanl,  inloamaiob,  a  waltz,  a  romance,  or  a  minuet  

if  moreovei  it  demonstrates  a  vigorous  and  glowing  imagination 
Bad  «  fine  latta'to  direraify  all  thcM  with  gracefiil  interspeniona-of 
W»  uUiw'i  owi  onatioD— aad      ai  tbq  cowuaiDuliqn  af  (be' 


3i& 


cRAHCB'i  ■viauimnn. 


fihvie,  OuK  uverat  quilitlei  uid  attribntM  ean  be  '™""*^«^'  ud 
^veniGed  in  inch  a  nay  as  never  to  tire  or  ntiala  tb«  m  with  the 
employ ment  of  an;  one  or  all  of  tbe  parti— tf  nich,  m  say^  bt 
the  combined  diitinclioiu  of  art  and  intellect  in  the  eompdritloii 
of  variations  upon  a  given  subject,  saeh  we  may  pronannce  frooi 
t!ic  specimen  before  us,  lo  be  tbc  qualities  which  Ma.  Cramek  ud- 
doubtedly  brings  to  fbe  task. 

By  this  recapitulation  we  might  bethoogbtto  be  drawing  op  a 
cati^ogne  of  the  requiiUes  for  the  bett  ponible  mannei  of  composi- 
tion in  thu  stjl^  but  in  Inith  we  are  onlj  Kcilii^  what  we  Sad  ia 
the  fint  of  tbe  pieces  whiohstaad  at  the  bead  af oar  utkile.-  Someof 
tbemarealtolobefooadin  tfaemoiidi  but  all  are  In  the  fint. 

The  iotnidaction]  which  i>  aomewbat  rare,  it  divided  into  tw» 
movements—tiie  fint  an  mdaiile,  in  the  key  of  D,  in  eight-ban  only, 
conaiiting  almost  wholly  of  chorda,  in  Btnooth  and  flowing  (ucca- 
(ion,  during  which  (be  composer  motlulntei  into  A,  into  G,  back  ta 
the  original  key,  passing  again  into  A,  upon  whieh  be  gradually  links 
towards  tbc  close,  and  briefly  reposes  previous  to  the  conunen cement 
of  bis  Allegro  Spiritoto.  Here  he  partially  annonncea  his  lubject ; 
butas  the  air  in  itself  is  in  $  and  Ibis  movement  in  common  time,  it 
wears  a  di&rcaoe  of  fann  that  makes  it  of  more  interest.  The  whol» 
of  it'combiaei  melody  with  brilliant  eSbct- 

The  jdnocceida.  At  fintfheeai  acfcoowledgei  only  its  ria|rf» 
beauty ;  bat  a  cloier  atlentioD  will  enable  (he  anditor  to  perceive  tb» 
conversation  which  the  parta  continue  lo  hold  from  the  beginning  tft 
the  end.  It  will  also  soon  be  felt  lliat  this  melody  is  capable  oflba 
various  forms  of  expression  we  have  described  above,  and  that  parte 
of  if  especially  may  be  rendered  aSecting  in  very  different  manners, 
as  well  as  dcgreea.  It  certainly  may  be  given  either  as  moving  or 
majeitic,  with  an  amatory  or  lofty  Interpretation. 

There  are  eight  varialioni.  Upon  tbe  constructbn  of  tbe  flrstj 
Ma.  Cbameb  hai  employed  bii  utmost  talent.  Its  atbibutei  are 
grace,  faeliog,Bnd  simplicity.  The  air  is  constantly  kept  in  remem- 
brance, yet  there  ii  no  samenesi,  no  rapetitions,  no  common  place. 
Mdody  nngnt  throoghont,  and  varEety  Is  coatinoally  mpptied  by 
the  beairtlfhl  bat  brief  KplicotiDiU  of  the  alleniate  parti.  Thu  after 
many  hearhtgs,  ii  am  larouiita. 

Tbe  Kcond  ii  literaUy  In  a  common  ih^,  being  bat  a  combina- 
Ifffi  of  tdpM^yet  it  is  pretsrved  ficom  tbe  bathoe  of  set  forms  hf  the 


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343 


ohann  of  melod;  and  b;  tbe  ocouloDil  delegation  of  Ibe  prevailing 
chamoteriatic  (olbc  left  hand. 

Srerr  Tarialion  mast  indeed  have  some  such  cbaiacteiisfici  if  tt 
be  intended  to  preterve  anj  thing  like  an  uniformity  of  design.  Ac> 
flordingly  ve  find  in  the  third,  fourth,  and  fifth,  that  each  has  Ha 
peealiunt.  Thus  (he  distinction  of  (he  third  is  a  lort  of  turn,  direot 
or  inverted,  concluded  bj  a  lomenrhat  distant  interval  rising  or  fkll- 
Ing— that. of  the  fourth  is  the  shake,  and  of  the  filth,  passagex  of  oc- 
tave* and  other  in(ervBb,tm»andb.  Number  tlx  is  a  minor,  lingulm 
In  ita  atmctnre  and  in  the  modulation,  irhich  is  very  frequent.  It 
rises  in  excellence  towards  the  close,  and  (he  last  few  bars  are  emi- 
nenttj  beautiful  and  expressive. 

The  last  variation  converts  the  air  Into  a  march,  and  here  perhnpi 
(and  in  the  iatrodaction)  is  the  principal,  if  not  the  only  place  in 
itbieh  Hr.  Cba«k  Iibi  availed  himidfof  the^tone  of  exnltaUon  of 
«lildi  it  ia  naeeptibls.  TbenbivtmderiiHmmentsavdaplnaiu- 
nesa,  and  in  the  spirit-stirring  excitation  of  raarUal  mnrio  a  nobility 
and  elevation  of  mind,  which  have  each  their  votaries.  As  these 
sentiments  prnlominafe  in  the  aadilor,  so  irill  the  preference  be 
jtelded  to  the  diSerent  interpretations  Mn.  Cramer  has  aSbrded, 
We  should  probably  prefer  the  former  character,  not  only  as  that 
with  which  Mozart  himself  invested  (he  air,  but  as  most  consonant 
tothegraceof  Mr.  Cbambb'b  best  manner.  As  a  whole,  however, 
the  lessun  is  a  delightful  specimen  of  ability,  and  the  interest  never 
lelaxet  or  fails.  It  ij  difficult  rather  from  ddicacy  of  exprenlontbaa 
ftontany  (ax  that  is  laid  upon  the  execatton  of  tile  perfimnei. 

The  Fantasia,  though  elegant,  is  at  a  coMideiable  remove  below 
the  ur  with  variations.  The  introduction  appears  to  us  by  for 
the  most  meritorious  part.  Somebody  has  said  that  yonth  is  beauty, 
and  by  the  same  hind  of  general iialion,  we  should  say  melody  is 
music.  This  movement  is  certainly  very  full  of  sweet  and  tender 
melody,  nor  is  it  wanting  in  bfilltanoy.  Ma.  C.  here  also  displays 
the  eminently  successful  manner  in  which  he  accompanies  a  shake 
of  long  duration,  and  the  elegance  and  expression  which  he  so  well 
knows  how  to  communicate  to  his  cadenzas. 

The  Russian  theme  introduced  u  the  well  known  air  which  was 
made  so  popolar  about  thirty  years  ago,  by  being  taken  ai  a  danoe 
-bjr  the  celebntedHibiriGiBiRe  at  the  Opera.  Itischie4)>mi>atk- 
lUe  fa'  Ha  Moentaatiwi.  In  tin  vuittioni  Qun  k  ■  iniztnre  of 


CBUm'S  VABUTlONt. 


iMisoiiaBg«iienlftnMirith  tnotiguisl  dbpoaition  of  Uio'tMitMi  u 
inthe  widsiotonlBoftlieauid;  the  aOoMid  too  ii  novdand  agne- 
«blis.  Theflnt,tbbd,nd&iirthMqaIn«trah&oflunduidd«U- 
emey  of  execation.  Indeed  IhU  qoBUty,  and  ■  certain  degance  dia- 
racterislic  of  llie  composer  reign  ihroiighout.  Tlie  fifth  is  an  inge- 
nious (leriTalLve  from  the  fmt  as  well  aa  from  the  a'u.  The  sixth  b 
sweetly  toelancholj,  and  Ihe  rest  are  set  off  bj  contrasted  oxpression. 
A  coda  in  xhich  a  striking  effect  is  produced  bj  an  enharmonic 
change,  is  closed  hy  a  brilliant  cadenza  of  nearly  two  pages  aod  the 
introduction  of  part  of  the  air,  with  delightful  effect. 

Mumeiaus  as  have  been  Ha.  GBAHsa's  productions,  there  are 
few  in  this  species  whic^  will  be  (bought  to  exocodhii  new  rarialioai 
aa  '^Dthprea^mdalccamplaio^'  aodif  waoannstaccaidioli^h 
ptaite  to  the  FaatBiiB,  it  it  beeaoM  we  place  tbe  fint  bfths  rideirf 
bis  most  approved  compositions ;  jtot  we  lave  not  Ibrgotten  eiAer 
'*  Satmeau'M  tfreoai"  o*  "  XAuxmer't.dajf,''  for  whcBero  we  hear 
them,  we  Goald  wiiknich  dreuniiuidMich  days  lobe  omifweTH'. 


A  Dramatic  Dhertimaao,  in  wMeh  it  introdti^  MoiarCM  fitmnte  Air 
i^GeMe  6  qid  WcceUaiore,  md  Ihe  grand  March  from  the  Opera 
of  11  FlatUo  Magico;  compoied  by  ^ugailus  Sleva.  London. 
Gheppell  and  Co. 

My  Lading  ism  the  cold  Ground,  a  fmorile  Air,  tnth  Varielimu  for 
the  Piano  Forte  i  oompotei  by  Angttitui  Mewi.  London,  els' 
menti  and  Co. 


Both  Iheie  pieces  hare  much  merit,  and  nmit  too  of  a  foit  which 
can  bardlj  &il  to  please  the  general  taste.  It  ia  the  happy  diilin^ 
tiooof  Mr>  Mbtes's  compositions  to  please  the  oar  and  to  captivate 
the  popnlnr  mind,  by  gently  leading  it  np  to  llie  easy  etevation  of 
^race  and  suavity.  Uu  proves  tbat,^  ait  af  directiog  the  mllion 
does  not  lequiiethat  a  man  ihonld  siafc  to  the  dnll  kvd  or  vnlgar 
■priijhtUness  which  ue  takea  lram  the  cfaaiaobntiai  (rftbe  cofn- 
moni^rclienriont  bat  on  lfe^.cwIraiTha  ilim Ihai the (uneliMM- 


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HETES'S  AIRS. 


tion  of  the  geneiral  tasU  tin  nithia  the  reacli  of  the  oirapotef  nlio 
'Will  emplogr  the  grant  imuce  of  attnLctioii,  flowing  and  iweot  ais> 
lodj— wlieie'  fhU  qjulitf  ptedomwialeii  the  car  maj  eotilj  be  kd  !• 
mpprehend,  the  heart  to  feel,  and  finally,  the  nndenlanding  (o  ap< 
predate  the  more  artfu]  reaODtcA  of  composilion. 

Mb.  Meves  baa  rramed  the  ialroductton  of  his  first  piece  upoB 
parts  of  the  two  aiis  which  he  hat  selected,  and  he  liasilonc  this  with 
coQsiderable  taste.  In  the  paraphrases  of  [lorltuns  of  Lin  lliemeg, 
which  make  up  the  body  of  his  work,  llierc  is  llic  fxcutsimi,  ani- 
mntion,  and  fancy,  with  that  light  and  plnyful  execution  nliich  con- 
stitute Ibc  dramatic  style,  when  that  term  is  applied,  as  ia  this  case, 
to  a  more  gay,  fanciful,  and  sportive  train  of  expression  than  belos^ 
to  a  regular  sonata.  The  themes  chosen  are  excellently  filled  to 
these  purposes,  and  managed  wilh  equal  delicacy  and  fire. 

"My  Lodging  is  on  the  cold  Ground"  employs  the  principal  and 
even  higher  facullicit  that  arc  engaged  in  the  forraer  lesson,  wilh 
greater  success.  Wc  must  admire  this  composition,  although  we 
esteem  it  unequal.  The  theme  itself  is  delightful,  and  the  associa- 
tions connected  with  it  arc  all  of  deep  interest.  It  can  indeed  be 
very  successfully  treated  only  in  one  way,  and  this  is  in  that  most 
expressive  manner  for  which  we  have  yet  no  English  term.  But 
we  have  incorporeled  the  word  cantabile  into  our  own  language, 
which  alone  conveys  the  idea  we  .attach  to  the  true  expression  of 
thb  theme.  As  we  go  along  we  shall  find  proofs  of  the  trulh  of  our 
doctitne. 

The  introduction  loo  nearly  retemUet  the  air  Itself,  and  the  atyle 
is  somewhat  ambitions,,  as  will  appear  from  the  mere  look  of  the 
score,  but  nevertheless  it  possesses  both  grace  and  imagination.  The 
first  variation  has  its  place,  we  conceive,  for  the  sake  of  contrast; 
this  now  is  not  vocal,  not  cKaste,  not  cantabile  enoagh — though 
it  bcEirs  a  close  resemblance  to  some  of  those  we  have  heard  Mas. 
Salmon  execute  so  delicionsly.  The  second,  on  the  contrary,  har- 
monizes iTcll  with  the  subject  and  is  trnly  beautiful.  The  third  is  a 
delicate  movement  in  the  style  of  the  liRrp,  and  the  fourth  risrs  to 
^eat  elegance;  it  approximates  very  closci)'  botli  in  mniiN<.'r  and  in 
aE»li(jr'tosoiDftofthebestofMn.  CnAUEn's.  Tfie  fifr)!  is  a  bold 
exeiclse  fintho  left  hand.  The  sixth  (tempo  di  marcia)  fuils  foi 
want  of  fonndaUoD,  the  air  not  allowing  socli  a  convenion.  The 
seventh  a  minor,  u  chaite  and  loqching..        last  adopta  a  ipt, 


346 


UGTEB'S  ilRS. 


fomii  (triplets)  bat  gets  rid  of  tbe  Tolgarity  lacident  to  such  gnce- 
hn  tmlibnultes  in  a  iraj  ve  cannot  quite  expUib.  The  coda  u 
Bztiemely  well  dtrendfledj  and  it  both  ezprestrni  and  maiterlj,  and 
thoi  the  legsonconcladu. 

If  Mr.  Mevbs  docs  not  tUe  to  bigh  esteem,  the  fault  it  not  in  liis 
geniiia.  We  have  had  other  opportunities  to  speak  Tei^  favouiablj 
(ae  Ihej  deserve)  of  this  gentleman's  writings,  and  ve  are  more  than 
ever  satisfied,  that  he  possesses  a  fine  taste  and  a  cultivated  and  rich 
imagination.  We  maj'  indeed  say  of  him,  nithout  incurring  Ifae 
charge  of  an  ironical  interpretation,  to  which  the  extravagance  of  the 
day  might  expose ,  as  in  nine  cases  out  of  ten — "  nikil  tttipl  pad 


InInfaiuyottrRopetmidFem,imAir,6yDr-  Ame;  ammgedmi 

varied  at  a  Ditertitaaent,  for  the  Pimo  fbrte,  b>/  M.  P.  King. 

London.   Birchall  and  Co. 
LeGarpm  Volage;  enmged  with  •oariatima,  for  the  Piano  Forte,  by 

J.  SPMm^e,  Mui.  Bac.  Oxoa.    London.    Clementi  and  Co. 
Peace  be  around  Thee,  arranged  jsUh  Fariaiioia  for  the  Harp  or 

Piano  Forte,aAh  an  (ad.W>.)Aeamptmimeia for Uu Flute;  by  F. 

L,  Htanmdl.  London.  Power. 
7%e  SkiimWah*,tompoudaAh  Varialiomifir  ike  Plam  Forte  i  bjf 

Samuel  WAbe.   Iiondon.   (%menti  and  Co. 

Paraphratet^oH  Dr.  Ame'iedebratedsoitg, "  Z%e  SobSer  (v-Jd  of 

Waft  dhrmti' amtpoitd  «tt at  MnAitthitf  by  Smwet WMe, 

London.   Clementi  and  Co. 
Chanson  Russe  utriie  pour  le  Piano  Forte,par  John  Field.  A  Londrei. 

Clementi  anil  Co. 

These  compositions  are  nearly  all  of  that  middle  nature,  to  vhich 
nothing  deservedly  good  or  bad  can  be  attached.  If  designed  to 
multiply  variety  and  oETer  new  stimulus  to  students,  they  reach  their 
purpose,  for  many  of  them  afford  very  good  practice.  The  fint  ia 
nndittingaiibed,  except  in  il>  two  last  variaUonit  which  are  certainly 
■bore  Uie  mt.  The  otyect  of  thig  lenon  piobobly  1^  to  combioa 


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347 


hUew  with  &cility,  anfl  it  does  bo.  Le  Gar^on  Volage,  better  known 
as  "  Come,  chase  that  starting  Tear  away,"  is  somewhat  more  compli- 
cated, and  isthcT  higher  in  the  scale.  "  Peace  be  around  Thee"  is 
belter  adapted  for  the  harp  than  the  piano  forte,  and  la  a  pretty  lesson 
fbi  that  instriimeDt,  as  well  as  daet  witli  tbe  flate>  for  wblch  the 
.  part  b  simple  and  easj. 

Hit.  Webbb's  two  compDsittoni  ascend  another  degree  or  two. 
The  Silesian  fFalis  will  afTord  good  practice,  and  is  above  the  gene- 
rality of  airs  wilh  variations,  in  (he  latter  pnrts  especially.  TheParaf 
phrase  presents  tlie  most  curious  piece  of  scrambling  combination 
wc  ever  remember  to  have  seen.  It  consists  of  some  of  the  parts  of 
the  aifi  and  these  are  so  strangely  coiumixcd  with  those  expanded,  and 
put  together  with  so  little  order,  that  we  were  never  so  completely 
convinced  as  now  of  the  original  poverty  of  The  Soldier  lired. — 
Mb.  Wkbbb  ihould  have  entitled  his  piece,  "  An  Expoaltion  oftfae 
loose  slructiite  of  The  Soldier  Tir'd." 

The  Chanson  Kiute  is  very  singular.  Tbe  air  strikes  u»  08  too  tbI- 
gar  for  improvement,  and  Mr>  Field, id  ombraciiiga  subject  vhiob 
may  be  papular  where  he  reH^es,  (SU  Fetersbnrgli)  has  btonght  his 
own  taste  Into  some  question.  This  is  Uie  most  difficult  of  the  whole, 
principally,  however,  on  account  of  its  siogolurlty. 


Light  ai  the  Shadon>s  of  Etienhtg  ,■  the  Music  Ay  Sir  John  Sleveuion, 

Mus.  Doc.    London.  Power. 
Yes,  it  is  Love.    Words  and  Music  by  I.  ClifloH.   London.  Power. 
The  Orphan  Boy,-  a  Ballad,  composed  hy  Charles  Sadtb.  London 

Lady,  the  Silver  Moon  shines  bright;  composed  by  John  Bametl. 

London.    Clemenli  and  Co. 
Oh,lislen  to  your  LoTier,  Polacca,  composed  by  Charles  E.  Horn. 

London.  Power. 

These  longi  hare  little  in  common,  except  their  mediocrity.  Yet 
they  all  proceed  ftont  anthon  of  Mime  diitiuction.  Sin  John  Stb- 
tbrioh's  has  slight  tnoes    bis  power  of  mdody,  bat  his  genorat 

TOLi  III.  KO.  SI.  B  S 


Digitized  by  Googic 


3^  MEW  BiLUIH. 

gmce  is  vaiiting  to  this  nev  Inlbby.  Ub.  Cliftox'b  If  j«t  prettjr, 
and  Mr.  Smits's  mnat  bear  the  sane  cbaracterbtic  Mb.  Bab- 
nbtt'i  bat  better  trails,  but  tbe  accent  u  wrong  almost  throDghout. 
Mb.  Barhett  hu  not  cbserred,  or  not  attended  to  tlie  flicl,  ttiat 
the  first  line  begins  wilh  a  Trochee,  llic  second  will)  an  Iambic.  The 
first  line  commences  the  bar  witli  a  Jiisl  ncci^iliiiition,  but  llic  second 
sellable  of  Ihc  sfcond  line  ehouid  (Ai  upon  the  beginning  of  the  b.ir, 
in  order  to  pieserve  the  same  truth  of  emphasis.  A  similar  error  will 
be  found  atdiSereat  lines,  the  metre  allowing  such  license.  ,  The  ac- 
companiment  gifei  a  lightnen  to  thu  air,  which  doet  not  belong  to 
Uierest. 

Mr.  Hobn'b  is  a  song  ormore  prelension.  It  nas  probably  writ- 
ten for  Mias  Wilson,  who  singsitin  "Lojieiaa  Village."  Tlie 
style  is  dramatic,  and  even  its  opening  sjmphony  is  gaudy  and  corn* 
man  pin cc.  This  operates  against  the  theme  perhaps,  the  first  few 
bnrs  of  \\h\ch  reminded  us  ofSTpRACE's  "  No  more  mi] froTsalarm- 
iiig ,-"  bill,  alas,  tliere  was  soon  a  heavy  declension.  Most  of  the 
succeeding  passages  arc  of  the  easiest  kind  that  can  be  put  together, 
yet  at  tlic  same  time  they  wear  a  semblance  of  difficulty — as  nitnen 
llioife,  re,  mi  division  in  the  third  stall  of  (he  fourth  page— Bad  agRia 
Ihatftl  the  topufpagc  six.  Tlie  accompanied  cadeniaiat  the  end  u 
perfect  playhouse.  Tliissoog  was  however  shewy  upon  the  stage, 
and  well  receired  in  the  opera,  and  is  tcally  vdl  ada^ed  to  singen' 
vbo  wish  lo  make  the  most  of  the  very  rudiments  of  execution  and 
set  off  slight  Bcquircmcnls  and  an  extensive  compass,  to  tbe  best 
advantage  amongst  those  who  knon  no  belter.  These  were  the  ends  to 
which  llie  composer's  ingeuuity  was  prubably  tasked,  and  we  give 
him  full  credit  for  having  fulfilled  bis  commission  with  ability. 
With  himtheieiiaofauUtobefoand. 


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9M 


The  Nighlmgah;  a  Ballad;  composed  by  C,  M.  Sofa.  London. 
Power, 

0,-lkall  couUrteiJllheDayf  aSsflbi;  the  Music  btf  Waley  Doyle, 

■  Eiq.    Lotidon.    (FortlieAnthor.)    Gljappcll  and  Co. 
1  kiiom  you  fake,  I  know  you  wan;  the  Music  by  Wfi^y  Doyle^ 

Esq.    London.    (For  the  Author.)    Ghappell  and  Go. 
An  Jnvitaliort ;  Tsrillen  by  Shakespeare,-  the  Musk  by  Waiter  Tom- 

bull.  ■  Lomlon.  Power. 
O,  smile  not  thus;  rompoaed  by  Charles  Sinilh.    Iiondon.  Power; 
The  Miller's  Daughter;  iia  oiiginal  English  Air;  the  Words  by  W. 
■    E.  Collard;  the  Symphottirs  and  Accompanimentt  by  J.C.  Clifton' 

London.   ClcmeKU  and  Co. 
Z^f^aaalajeaiati  motyptial  Eu^ith  jRr f  the  Words  fivm  a  Scene 

inthe  Merdunl  of  Venice;  by  W.  F.  CoUard;  the  Symphonies  and 

Accompanimenls  by  J.  C.  Clijlon.    LoiiiJoii.    ClcniDnti  and  Co. 

Tiicse  songs  ore  all  of  a  bigher  order  of  merit  thnn  the  former 
bolcli,  tboiigli  tlicir  degrees  aro  different,  but  »e  have  arranged  llieni 
as  nearly  as  possible  according  as  tbey  rise  in  tbe  scale,  from  lllc  first 
to  llie  lail. 

Mil.  Sola's  is  a  phasing  and  liglit  melody,  ^fith  some  little  exc- 
OHtim  that  mfty  tam  to  introduce  more  in  the  shape  of  ornenwiit, 
iftberiDgerbftre  (heponertoplBeeit  jndicunisljr.  - 
.  Mn.  DoVLB't  are  much  lii  bis  generel- manner— lim pie  in  con* 
fltruction  Mtd  atrong  in  efiect,  tnelodlon*  and  foil  of  feeling.— 
There  is,  ho«ev«r,  in  I  know  you  faJse,  Ibe  some  erroT  In  the  accent 
we  iiave  remarked  in  Mn.  BARirnTr's.  The  sjllable,  I,  recetvei  an 
erroneoui  emphasis.  The  emphatic  word  is  knoai,  which  is  rendered 
secondary  by  its  position  as  well  ns  by  ils  shorter  duration.  ' 

The  inTiialioa  is  S^HAKBSPHAn's  "  Come  lize  mith  me  and  be  my 
rfffljs"  ""d  it  is  agreeably  set  by  Mn.  Tithnbui.!..  Words  nearly 
resembling  thrse  have  been  used  by  Ma.  Webde,  in  his  branfirul 
g\ee"Come[hewithme  andbe  my  lu'c,"  a.m\  Mn  TonvBULL  h,is 
adopted  the  first  of  the  solos  upon  lbs  vrords  "  A  Belt  of  Straw  and 
Ivy  Bads"  aa  the  firal  member  of  bia  melody,  Inientionalty  we  pre* 
stune.  Nor  do  we  KO  anj  objection  (o  this.  It  bat  oflen  struck  as, 
%z  S 


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UiBlenlire  muiicat  pbraies  might  be  taken  (o  illuatrate  or  enHven  bj 
ataociBtioD,  as  phrases  or  posBages  rrom  classical  authors,  on  account 
of  their  possessiog  intrinsic  strength  orbeautj,  are  incorpoTated  inio 
literary  eomposilion ;  but  a  cbaracler  equivalent  to  the  inverted 
commas,  which  arc  the  marks  of  quotation,  shoulil  be  conlri?ci]  to 
preclude  the  charge  of  pingiariam,  \rhete  the  passage  so  applied 
b  of  sufficient  hinglh  to  tender  their  being  appended  necessary. 
Tbe  rest  of  tlie  mclodj  assorts  well  with  the  nordi,  and  the  whole 
breallies  an  air  of  frwhnew  that  ia  ddiglUfiit  to  our  mbm  of  ad>p> 

Ms.  Chaslbs  Smith's  ballad  is  nbore  the  comman  itjk,  ud 
pleases  much  on  ncconnt  of  ita  ndodf,  man  {rum  i(t  pecaliar 
rjtbntand  moit  for  its  rfrongfeeling.    It  it  indeedabnotifiil  ballad. 

From  the  real  wj  would  separate  the  two  last,  as  they  are 

adaptalions  T/ie  Mi/ler's  Daughter  ia  the  Air  of  "  The  Duily 

iJiller,"  aliicli  h:>B  so  ioiig  been  employed  as  a  quidi  dance,  Ibnt  wc 
hardty  knew  it  a^ain  in  its  belier  form  of  a  pathetic  ballatl.  Tbii 
bonercr  aiTurds  aiiotlicr  proof  of  the  power  of  time  over  melody  aud 
cipression,  for  a  vulgar  dance  tune  is  certainly  here  transformed 
(luniigFt^  old  assDciatioDs)  into  a  sweet  and  plaintive  song. 

Lorenso  to  Jessica  is  a  paraphrase  of  B  part  of  the  beautiful  scene 
in  the  AlfTchanl  of  Venice. 

"  How  Kweet  titc  moonlight  sleeps  upon  the  bank," 
adapted  to  the  air,  "  Lighl  o'Love,"  which  Shakespeare  is  said  (o 
have  tieeH  fond  of,  and  nliich  he  ha>  rands  Btabke  tell  as,  '^€lon 
mihoat  a  hmden."  It  is  certainly  very  awHl  and  «mple.  Tbe 
acoompanjmcDt  too  ia  judioioaslf  wilUoi,  and  the  modulatioo  adds 
io  the  exprsMinBess.  Anj  of  tluae  looga  viU  affind  aorOij,  u& 
Hill  not  offiwd  goa4-lute. 


3&V 


Sdai  Pkeu  fnm  BimauTt  JtmmUe  Opera  of  FimchM,  arranged  or 
DueU  for  two  Perfitnun  m  Uie  Fiam>  FotU,  by  V.  Novelh, 
Orgfontt  to  the  Portuguese  Embat$s^ — BotAt  I  ondS.  Louden. 
Gtiftppell  and  Co. 

tdd  aJlaUering  TaU^  ammgedfor  two  Pafaimun  m  IMa  Piaao 
•  Faric,  by  W.  Bameit.    London,'  Power. 
Oaaeyaur  Fitrnth^,  arranged  far  tmo  Performm  ou  the  Piano  liirte, 
by  W.  Bemtett.   London.  Power. 

We  have  seldom  met  with  thinga  so  excellent  as  all  these  duets ; 
jet  their  merits  arc  not  at  all  of  the  same  cast :  for  while  the  sclco 
tiong  from  Hmtteh's  are  beautiful  from  their  own  simple  and  grace- 
ful mclodj',  (hecompositionaof  Hn.  Bbhhkti  are  recomraended  by 
tbeir  ihew;  elegance.  Of  theie  aereral  excellences  we  can  onlj 
■peak  In  general  term*.  Mr.  NovniiLD'a  admirable  judgment  led 
ns  to  expect  111  at  nulhing  would  proceed  from  his  linnd  but  what 
was  really  good ;  accordingij"  we  find  a  delicacy  of  fancy  nrid  origi- 
nality of  sfrucliire  in  the  (hemes,  that  justify  llieir  beiui;  given  lo  the 
English  Public  iii  this  shape,  under  the  sanction  of  his  well-earned 
BOlhorily.  Tbeir  melody,  simplicity,  and  peculiarity,  confer  upon 
Ihcro  in  many  instances  the  character  of  National  Airs ; — they  pre* 
tent  BD  difficulties  but  are  iweet  and  pleasing,  though  very  various  in 
s^le.  They  are  oAen  remaikible  for  the  singular  and  extreme 
delieaqr  of  Ihe  cannnatiiHi  belwfea  the  paili. 

Mb.  BBRXEtr'a  arc  mom  in  Ihe  customary  manner,  though  very 
IxilUaiit  and  attrBctivet  Ae  execulion  is  pretty  equally  divided  be- 
tween  tfae  petfbnners  and  between  tlie  hands;  and  they  wilt  afford 
good  practice,  because  they  are  not  wholly  vithontdifficalliei,  and 
when  accomplished,  will  give  a  performance  that  will  delight  tfae 
generality  of  auditors.  The  airs  are  so  well  known,  so  charming  in 
themiielves,  and  well  preserved  and  set  off,  that  these  duets  will  lack 
neither  the  recommendation  of  favoiitisin  nor  of  novelty^  for  both 
are  combined. 


3S2 


IirirodKethu  mi  an  Italitm  Air,  ailh  VariaSom  Jbr  the  Piam  PMe 
■  Md  fhUe-  or  VhSn;  composed  by  Pio  QaachmM.  Londoit, 
'  ClemeDti  snd  Co. 

Variatiam  for  the  Piano  Rrte  and  JPlale  ONigato  on  the  JatotarUe 
Cavatiaa,"DiTanHFa^/'  ampo>edbyff.KolUer.  London.' 
Clementi  and  Co. 

Hb.  ClAiroHBTTIMI  ban  industrious,  an  imaginative,  and  an  ele- 
gant composer,  and  liis  worlis  presctil  (rails  ofsftong  feeling  as  well  as 
aMpirabiindanl  ferlillly.  Ncir  dm-s  lie  ever  desert  Ihe  love  of  mplocly 
— a  circiim.slnncc  wliicli  will  make  bis  ivritings  pleasing,  and  probablj 
popular.  The  introdiicli'in  (o  tliis  piece  specifically  proves  the  truth 
of  otir  gencril  cxnnliiim.  The  pnclical  and  the  sweet  cliaTacter  of 
"tlic  Goft-complFiliiing  flute"  is  nelt  sustained  in  tbe  flowing  piecs 
of  air  allotted  to  its  first  appearance,  and  llie  conversation  lielween 
tbe  two  inBtruments  is  sofi\y  yetsweetlj  kept  np.  Tbe  Tema  is  aln 
adapted  to  tbe  geniui  of  (be  Ante ;  and  tliougli  tight  and  cinpl^  is 
yet  fidl  nf  feeling.  The  Tariationstoo  are  not  of  a  commonsoTt. — In 
the  lirst,  the  replications  aic  cxrcedingly  well  managed;  in  tlie 
second,  nhiTC  llic  tlulo  lias  (he  air,  tlicie  is  also  much  that  is  agree- 
able. The  sixth  affords  a  cnntrnst  totlic  rest  by  the  train  ofpiis^^iges 
givrri  to  Ihe  nnte.  We  may  safely  ri-c^mmeiitl  this  diu-t,  not  only 
as  iibove  llie  eninnicin,  but  ns  cxliibitiiig  some  novelty  ntiil  inucli  taste 
in  ils  arrarir;emeii(. 

Ma.  KiiiiLc^L  also,  although  lie  treats  a  theme  which,  bad  i(  not 
been  extremely  fascinating,  musi  hnve  long  since  been  worn  out,  has 
claim  lo  much  priiisc.  Tie  however  considers  the  flute  Tery  much 
as  the  principal,  and  he  has  filled  that  part  witb  execution.  There 
is  frequently  a  good  deal  of  ingenuity  in  (lie  combination  of  the  (wo  in- 
struments, which  reciprocal  el  he  passagesoft  he  subject  and  of  Ihe  varia- 
tion witb  aaeffcct  that  is  agreeable  and  forceful,  Tliclhird  vnfialion,  if 
not  original,  is  at  least  uncommon  ;  and  (he  (raitsilions  in  (he  niinnr 
arc  rich,  and  set  off  by  biillinncj  of  context.  Both  (hese  duels  will 
excite  a  lively  interest  whenever  they  are  well  played — the  first  from 
its  sentiment — the  last  from  its  tfaeroe  and  i(s  glittering  accorapani- 
meat.  Ha.  CiAKOHEiniti'a  is  howmrof  the  b^hnt  order. 


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A  Sdettim  oflfbh  Meledia,  vftft.  Sgnptmaa  and  AeampaamenU,- 
Itjf  Hemy  S.  Biting,  and  'C^araelenttie  Wordt  by  Thomas  MoorCf 
JS$^.  8th  Number.    London.  Power. 

Enough  has  been  vrillen  upon  Mn.  Moobe'b  vcrj  vaTioas 
powers — enough  anil  far  more  llian  enough  to  illuslralclhoughis 
that  enler  at  once  inio  tlie  very  soul.  It  matters  Utile  whether  he 
excels  in  force  or  Bweelness — nhelhrr  liie  amatory  or  liis  pntriolic 
songs  kindle  the  fiercest  &ies — lake  him  for  all  in  all  tliere  ie  none 
olher  luch,  and  many  a  future  bard,  pnd  many  m  fulnie  patriot, 
and  iDBnyaratDreboonconpanion,  shall  lajr  with  that  poet  who  bat 
been  the  most  obedient  to  impulse 

**  I  drink  to  thee,  Ton  Hoobe," 
£ren  perhaps  when  the  maoory  of  all  that  be  has  wrilten,  but  hii ' 
tongs,  shall  liare  perished. 

The  volume  before  us  (wliith  from  the  address  of  the  publisher 
should  seem  to  cliiKcllie  scries,)  contains  perhaps  most  beautiful  as 
well  iis  jnnfX  varitil  specimens  of  bis  genius;  there  arc  Indeed  suf- 
fcicnt  examples  in  oacli  of  liis  several  manners  to  convey  a  jast  and 
■Imoit  complete  notion  of  all  thut  lie  is  able  to  t-ffucl,  were  all  the 
rest  that  he  has  done,  losl.  When  reflection  soberly  considers  the 
exquisite,  the  trembling  sensibility,  which  vibrates  to  such  high, 
inch  bold,  such  volupluous,  such  consuming  impulses,  it  becomes  a 
matter  of  wonder,  that  emotions  so  intense  (for  no  man  ever  detcribed 
what  he  has  not,  either  by  the  coarse  of  circnmstances  or  bf  the 
■workings  of  imagination  urgfd  by  such  events,  been  exposed  to  feel,) 
have  not  exhausted  the  physical  powers;  but  our  poet  seems  oeithec 
exhausted  not  cooled. 

There  are  twelve  songs  in  thisnumber.  The  first  is  Bacchennlian, 
bat  it  is  not  coarse  revelry.  Thurc  is  a  fine  spirit  that  warms  (he  Inm- 
g^ation  and  may  exalt  the  enjoymcuU  of  the  hour,  wiibout  lowering 
the  manners  or  depraving  the  heart.  .The  second  appears  to  have 
been  written  in  the  dark  moments  of  disappointment,  nnd  the  third 
partakes  of  the  same  bitter  senUment,  but  eolarget  it  from  the  indi- 
Tidaal  toa  nation.  - 

The  fonitfa  is  in  i^ita  of  Whiikejr,  of  which  the  reader  is'to  know 
thcie  are  two  kinds— one  the  produce  of  i^Iar  commerce,  known 


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IIUBH  MELODIES. 


in  Iretaod  bj  the  cant  name  of  "  the  FarliameDt" — tbe  other  called 
polsheaif  tbe  product  of  secivt  dutillation  frora  those  bidden  cavei, 
vhldi  are  not  onlj  In  thenuelvm  a  cone,  but  yihiA  poar  forlb  mote 
mtierj  upon  tbe  counlrj,  thon  the  wildest  torrent  that  ever  rushed 

from  the  bills  to  deface  tlic  indnslry  of  the  peaceful  vallies.  TEiis 
song  is  as  full  of  destructive  heat  as  "  the  philter"  it  cckbrales,  for  it 
nssirailnlcs  the  sacred  flame  of  liiwrlj  with  Ihe  inloxicalion  of  this 
vulgar  contraband.  But  here  we  nevertheless  can  but  ailmiri;  fhe 
pOH'crof  Mr.  Mookb's  genius,  wlitcli  to  clearly  npprolicmls  ami 
applies  so  sub  I  fy  that  burning  sense  of  poivcr,  injury,  and  daring, 
Thich  the  combination  of  i,ucb  images  commingles  and  excites ; 
and  though  our  proper  subject  is  neither  poetry  nor  morali,  yet  pa- 
haps  connected  with  the  one  and  sorely  subjL-ct  to  the  influence  of 
the  olher,  ve  cannot  refrain  from  showing,  by  the  quotation  of  an 
anoDjnioiui  poem  publlsbed  many  years  since,  how  differently  pow- 
erful minds  will  view  the  same  dejects.  FBrhaps  U  k.  Uooms  Aim- 
self  may  be  the  antbor,  for  ila  slrenglh  is  equal  to  fais  own. 

TME  WORM  OF  TEE  STltL. 

I  have  found  what  Iheleani'd  seem  id  poisled  to  tell, 
■flip  true  •hsiyo.  of  the  Deii!,  and  »herc  is  his  HeU, 
Into  Serpents,  of  old,  crept  the  Author  of  ill, 
Dut  ^ulsii  u'orks  aovi  as  a  Worm  of  theSiii,!- 
Of  all  hb  migralions  this  \asi  he  likes  best, 
Ho»  the  arrogant  rRptilc  here  raises  hia  crest, 
Tlis  hrail  vtloding  up  from  the  fait  of  his  plan, 
'Till  the  norm  stands  erect  o'er  the  prostrated  Mul 
Here  he  joys  to  transfarm,  by  hU  rnagical  spell. 
The  iwcet  milk  of  the  earth  to  an  essence  of  Hell; 
Fermented  our  food,  and  corrupted  our  ^in. 
To  famish  the  stomach  and  madden  the  brain- 
By  hit  wafer  of  life,  what  distiaction  and  fear ! 
By  the  glooia  of  its  light,        pale  spectres  appear ! 
A  Demon  keeps  timenitli  bis  fiddle,  finance, 
W  hile  the  passions  spring  forth  in  a  horrible  dance. 
Then  prone  on  the  earth,  they  adore  in  the  dust, 
A  mso'i  baser  half,  rals'd  in  room  ot  hU  bust; 
Such  orgies  tlie  rights  of  the  drunkard  display, 
But  how  black  with  cnrnd,  how  benighted  his  day! 
Witb  dram*  it  be^ns,  and  itithdiami  it  must  end, 
The  dnm  iaUi  cMBliy,  bii  mirira>,^liii6iaidi 
Then  Us  aMlfy-d  heart  Wiltieir  at  the  IsH, 
And  a  dram  nertes  his  band  tar  tbe  deatt-dkag  hfast 


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Milk  tkt  aothn,  Hut  taa«iter,  tint  dama,  ud  Ont  conc^ 
"  Sm  her  diUdkmi  dead-drank  at  tbsbiewlot  lb  soiM, 


Am  U  dfOM  ri^bvarnu  mnk  heritn^d  tte, 
•m  ihe  wakei  irith'a      and  a  In^  Of  dHpAw , 


b  tini  ^  CM(r  pondt'd  o«  Natkn, 
Thb,  tbs  Uki6k,  dlBHdT'dtnacapofdamiiatlan, 
WUch  oar  Chincellor,  CoMui,  ntolt  ■»  ditioe. 
To  tnln  bp  onr  fate  and  cnrfariiiiie^  h  mine  i 
Drink,  Eant,  ditnk  de^       Om  crjftilHin  nnmd, 
HU  die  torture  oTHl&Tecollecthni  be  drown'd, 
TIB  the  feoperi  of  %  beirt  be  A  tSflbn'd  bl  lltiae, 
,  TlMnntdembike(bt,UkeaQiMK<Dfa»aMM. 

N It  fttMyftf  fi«edoM  U*  ftuli  o^  ftribtA, 
TLon  lUt  dwrn  to  the  nadcal  oknk  of  the  otain; 
A  crown  afcBeq>  ttrav  ibiU  leeu  rich    thine  ej^e, 
And^tMBttdgttOdwJenrttf  tdpttoiharty. 

Aor  Iwdri  Aat  iM  back  of  the  ^per  it  Beta, 
iVf  MM  ttf  port  MuftCe  of  Mtocdd  green ; 
For  the  Suimt     nerer  wa>t  ^<nMa.to  UK, 

While  the  lat  of  jonr  fialdt  feedi  the  Wobm  dT  the  Siitt. 

Let  the  reader  compare  this  with  Mr.  Moore's  animated  and 
animating  song,  to  which  we  allow  all  tlic  charm  of  its  intoucaltn]^ 
encbantmenld.   The  last  is  delirium,  but  the  first  is  tiitth. 

"tba  next  in  succession  i«  distinguished  for  tfae  architeas  vliEdl  ia 
cort^Dlf  one  of  thefascinatioaiof  this  poet  of  the  mbbm.  He  knowi^ 
moaa  m  ihU  as  be,  the  grand  arcauara  (voald  it  -Hat  tfRendnt  and 
better  sp^ied)  Wbich  VLkVt  VoouVoNAoRdny  the  (endenat  sdd 
■UMt  tra^pitUUtTictitt  rfgonins  utdaenilbllttf,  lint  ptmomt<xS. 
*t  GtOK,  Mid  riie,  torbAr  ftoMhltaa  h^yttf  wa»  U  (nci  and  let  nt  ted 
if  tzw  ftoce  imagiaaCion  enough  te  keep  the  keari  ieaiiH" 

The  sixth  is  political  as  well  as  poelical,  bat  yet  Iheneait  attfao 
tire,  though  the  itteaning  links  deep,  of  any  in  the  collection. 

The  seventh  which  embodies  a  traditionary  l^end  and  giWa  ft 
with  somo  (ouches of  poclry,  nevertheless  sinks  in  Ihe  scale,  because 
it  is  liniied  to  the  aOeclions  by  slight  lies  of  sentiment. 

The  eighth  is  so  exquisitely  delicate,  (hat  tre  shall  need  no  npolog/ 
for  qnoting  it  entire. 


How  sweet  the  answer  e 
To  mmio  at  night, 


echo  makes 


Wheo  lowed  by  late  or  h^  she  Wak% 
And  la*  awaTl  nW  Ia«na  aid  lakl^ 


V0&>  Itl.  KO.  XI. 


S56 


IBIBH  HELODIEI. 


Tct  lofe  bath  echoei  truer  Ur, 

Aai  fir  more  sweet 
Tbaa  e'er,  {wneith  the  moodUglit  rtv. 
Of  honi  or  lute  or  Mft  gidtn. 

The  MDgs  repeat 

Tli  when  the  sTgh  in  youlh  siDCere, 

And  onlj  then, 
Tbe  sigh  that's  breath'd  for  one  to  hear, 
li  by  that  one,  that  only  dear, 

BreBth'd  back  again ! 


We.bave  long  since  perceived  in  Mr.  Moore's  later  writing^ 
the  coming  on  of  that  adumbration  of  the  spirit,  which  darkeiu  thft 
objects  it  slill  loves  to  dwell  upon.  Nor  is  it  less  true  in  the  general, 
()i;it  flioj  wlio  in  youth  lieve  most  iwatted  enjojmenl,  teem  to  feel 
when  llic  powet  abates,  the  same  excess  of  bitterness  in  their  lamen- 
tations over  bliss  departed.  The  ninth  song  can  but  give  rise  to  such 
an  observation,  for  seldom  have  such  feeliogs  been  deaciibed  wilb 
more  imagcB  of  desolation,  of  change,  Rnd  lorrow. 

But  (he  next  slraiu  again  rises  la  lucli  tenderness,  such  devoted 
sdbTatbn,  such  true  bne,  that  the  heart  In  i(i  trltiinph  detnandi,  wha 
would  not  give  up  every  loose  and  wandering  pasi[on  for  a  leiiti* 
ment  ao  pure,  to  concent  rated  I  It  ii  in  tbe  expresMon  oCaHsehiaeat 
aach  Bt  this,  we  should  sajT}  that  the  lop  and  finidi  oi  Ma.  HooMt's 
attresidee. 

The  lamentation  fbi  Ma.  Gbatia  tr  (which  it  tbe  noit)  abonnda 

in  images  of  strength  and  beauty.  Tbeie  is  not  a  stanza,  nor  Indeed 
scaiccly  a  line,  that  is  not  woKliy  of  the  subject,  even  if  vieweil  witb 
the  enthusiastic  admiration  the  poet  del  igi  its  lolavixli  upon  tbe  patrkrt 
he  labours  to  immorlaliK — and  what  more  can  be  said  I 

Tiic  twelfth  nnd  last  is  a  gem  of  such  brilliancy,  that  well  might  it 
be  clioacn  to  crown  and  complete  tbe  splendor  of  the  collection.  In 
England  it  must  at  all  times  be  valoablc  to  record  end  to  diffuse 
such  an  invocalion  (o  valour  and  to  freedom,  but  at  (his  moment  it 
niQEt  be  doubly  worthy  preservalloti;  we  shall  (hercfore  give  it  that 
circulation  and  that  small  tboro  of  additional  permanency  which 
belong  to  our  pages. 


Oh,  the  ught  enlrsnehg, 
'When  moming's  beam  ii  glindng 


Digitized  by  Coogle 


OA  HELODIO. 


Wmd  aU  brafipg, 

And  the  tronpeti  voice  npca&v 

Tb»t  wiw,  whose  tlrMt(l 

May  leulta  deilh, 
Bot  nem  to  Kbeatiogl 

Oh,  the  sight  entrancing,  * 
'  IVben  morning')  beam  is  glancjngt 

O'er  files,  arrar'd 

With  helm  and  blade, 
And  plumca,  in  tbs  gay  wind  dM)cinj ! 

Tet,  'tb  not  belm  or  feiOier— 
for  uk  yon  deqiot,  whettcr 

His  plnDiBd  baadi 

Could  briag  mcb  lundi 
And  hearts  u  onn  togetto, 
hetxe  pompi  to  thoM  Who  need  'em-' 
Adorn  but  nan  with  freodom, 

And  jiioDd  he  bnTM 

The  gt^idleit  ilarei, 
That  cnwl  where  numaTcht  lead  "em. 
The  iword  may  pierce  the  bcayer, 
"Stone  wrilf  in  flnie  may  ■no', 

■Tia  hsBTt  alon^ 

Worth  tteel      itooe, . 
That  keeps  men  free  for  erer ! 

Oh,  that  sight  SDtrancing, 

When  (he  ranmiDg'i  beam  Is  glancing 

O'er  files,  array'd 

With  helm  iDd  blade, 
And  in  Freedom's  cause  adraacing  I 

After  tbitlMier  bat  iodlipeonble  iiitiod«alH»  of  Ae  poetry,  «• 
nwy  pMBon  to  oor  metre  abuilutiB  province,  the  music.  The  airs  are 
■cucely  lest  ainjBinlar  thun  Ihcy  are  npproprinlely  expreasire.  Ex- 
pttesive  indi.'ej  thry  muiil  lie,  for  as  the  lYords  are  of  the  secanil  birlli, 
tbey  are  neceMarily  the  oli'spiing  of  liie  music,  and  our  later  obscr- 
nliona  tein  only  to  confirni  the  conji-cCurs  we  formerly  ventured, 
that  to  write  words  to  music  is  more  likely  to  prodnce  a  felicitous 
adaptation,  than  lo  write  miuic  to  words.  We  think  in  those 
before  us  Sf  a.  Hooilg  bas  been  eminently  soaceufut,  stimulated  pro- 
bablj'  by  iJis  apptrent  and  probable  daw  of  hii  adf-tdloUed  laik. 
For  llie  cSeots  of  encilrmenl  are  'd»er«ab)e  mn  in 'minds  bf  power.'  , 
The  ait-  of  <*  AVer  ask  the  hour,"  is  spirKcd  nod  eraphalio— ^tb« 
satSodj  onapklely  >f  Ihibio  and  'capable  of  deulamntory  fme  and . 
Ming.  Tbeocooii^iimiaeiUtaoiilightBadimpaBrag.  ThcHOi^ 
3aS 


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mm  mif#m 

"SaitmtalM,"  proewdtBg  bj  degnet  tmi  kbnnduig  in  npetl- 
tions  dunng  the  brief  slraini  of(hefintdiTuion,coiiTe7«,b7BnaDi>- 
tonons  dwellbg  npon  nearlj  the  same  Doles,  the  salleD  swell  of  the 
mind,  nhicb  ii  not  only  piclured  in  Ihs  woids  but  by  the  direclloa 
for  its  perfonnance, "  wilh  mournful  deface."  We  mayby  the  way 
remark  Ihat  Hs.  MoosETpry jndicinnbly  adopts  Englieh  terms  oflib 
Olfll(  insteMd  of  employing  (lie  vagiic  and  ill- understood  languagi^  of 
the  ItaUan  nuuicians.  Tlie  same  expedient  occuri  in  the  lecond  ni 
in  tbe  fint  part,  witb  bowem  the  inter*eation  oC  a  lioglD  diitoot 
note,  wbioh  has  a  vailiDg  and  bMiilifid  s&et. 

The  third  IS  morecbromHUc  than  an  national  air  we  remember  (o 
haTC  seen,  and  it  Teinindsnsitn)ii|[IyarHATDH'i  touching  canioaet, 
"  Towandtraione  what  the  moon  fmilfy  beamv^".  one  of  the  most 
exquisite  things  CTer  produced.. 

"  The  Fortune  Teller"  is  tmljr  Irish,  and  very  expressively  ren- 
dered by  Mr.  M  do  nn'sezqaiaite  lines.  Perhaps  this  will  be  thought 
the  roost  effective  song  in  bb  number. 

"  Drink  of  this  cup,"  has  not  less  cbamoter— genuine  Irish 
etaaracler. 

"  Ok  ye  dead,"  is  exceedingly  singular,  and  employs  the  same  ex- 
pedients, heightened  by  the  use  of  chromatic  intervab,  as  tbe  second. 

Sail  am,"  with  similar  excdloBce.  TJui*  both  wwds  and  music,  ii 
*■  bigli  fintasUcaL" 

The  **  Soug  of  O'Donaha^s  Miitren,"  is  a  eweet  atr,  set  off  by  a 
rare  and  delicate  accompaniment,  tbe  writer  of  which  shares  eqnal 
honor  with  the  origind  melodist  and  the  poet.  We  should  almost 
feel  inclined,  but  that  we  arc  so  deeply  indebted  to  him  for  the  reato* 
ration  of  tbe  air  in  its  present  shape,  to  pronounce  that  the  poet  has 
the  lowest  claim.  But  this  arises  from  the  nature  of  his  theme — yet 
he  has  told  the  story  charmingly. 

Our  favourite  words  in  "  Echo"  are  not  natehed  with  melody. 
Noi  do  we  tliiok  Mr.  Buboe  is  so  happy  in  hii  symphony  (whiels 
oMcbnsdeu  tba  simplicity  of  ths  air  «ikd  desd«Da  tka  eStct),  ai  ho 
has  been  ciciy  where  dae. 

.  "  ObtBm^uetiut,"  atoaaa  fbr  tin  triffiag  dapwioa  of  ifa 
dooMsoclidovlhaabaoat  uaimwlittndaid  af at^wionly  lo  whiols 
welodtupwillideli^liRUiiaToliiBa*  ThaeiiBniMthirilatMda 
dnd  a  wild  sadnssi,  whioli  aflbtd  lu  a  Inxii^  thai  wwl^aetaly  ai^f 
kfflmn.  TkisdMMddBatbanbceBKpBatBdiiipuiB.  ' 


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359 


If  wfllike  the  poetry  of  *',31iee,ni^  thee,"  aen\jM-m\\  u  any 
ef  tbanngt)  wafimcf  tba  air  las.  It  it  too  iti^gliDg  and  obscure, 
-)HKlwaBto«q«d«U7tli»  idtcBiMjr  iMd  Aonnatiation  nUoh  ouiti. 
tale  the  wtHroPtbOTOH.  We  l^dk  iff  tUl  iq  Tttio,  exocpt  in  the 
repeated  paiiage  that  cloeee  the  eoiiit. 

«  ShaU  the  Harp  Oat  he  tUatt"  iei  the  Ingnbriont  vaiHiigirticIl 
me;  Iw  mppoRcd  tp  sbiu«ol«rt«e  a  Uatoi  >  aikI  ttw  pcntiTc  sen*a< 
tion  ii  coDtinned  almoit  to  wearing  down  the  mind  by  iU  toralm 
though  melodious  repetiliaai. 

Lnst,  nol  least,  cornea  the  triamphani  composition  we  bavo  quoted 
qt  length.  Tbe  air  ii  one  vild  burst  of  exultation,  and  the  aocom- 
paniment  advances  aupoKbcjWgc,  with  the  inspiring  wontaand  tbe 
lofty  melody.  This  is  not  alone  a  song.  It  is  a  picture  that  makes 
tbe  heart  bound— a  Tuion  of  gtory.  And  tbe  poet  nwy  boast,  that 
in  clonng  tbe  vfnk  vbibb  hn  eiBhed  alike  bi*  gesiu  w6  hii  cosn* 
ti^hif  laitllKHiigbt  «at>ip«|WM. 

We  acNwider  thii  TolDine  as  Ihfl  lofUest  «>d  heit  of  tbe  dgU ;  and 
if  it  should  leally  conclode  the  series,  it  concludes  it  iritb  undimi* 
nished  beauty  and  undiminished  strength.  The  words,  the. air*,  the 
accompaniments,  and  the  decorations  are  all  equally  honourable  (o 
tbe  parties  and  lo  the  work.  There  are  few  mindt,  perhaps  these  it 
not  now  another,  tluit  epald  IlBTe  infonned  atid  aappoelDd  inch  ■ 
pnblicatioo  with  aach  a  porliaD  «r  TtTaeilj,  eieganoe^  •entinent, 
and  power. 

Met  oDgA*  tbe  liberality  and  the  eiertksM  af  the  pablither  te  be 
paiMd  OMS  •ilhont  caponinm.  We  fcncnr  his  rUt  t«  have  been 
•0  th«t  whdercr  ven  the  original  indnceaMnts  lo  tbe  raler> 
priae,  it  waa  a  apceqlaliMi,  tuidartaken  tipon  ancb  a  scale  as  to  gin 
aa^a  asaurwoe  ^  admp-ftdt  to  perpetuAte  worthily  thti  m- 
tiiHiM  tribute  of  art  and  geolai. 

We  part  the  Htore  easily  with  the  Irish  Melodies,  because  the  er- 
eriion  of  the  same  talents  is  prolonged  in  Tub  Natiohal  Ains, 
which  affiirding  a  more  extended  MJ,  may  wdl  encourage  tbe  be- 
lief that  they  will  not  dininiah  the  rotation  of  tbe  anthar,  nor  Iba 
delight  the  public  »  ealBM  t»  eapeet  £taia  those  moabota  irfateb 
have  already  ■ppeandt'vnd  lAM  prowe  how  time  d&riehca.M  it 
vieUowat^t, 


one  Piano  Forte  /  eompoted  ^  J.  B.  Logier.    London.  Cle- 

mcnti  and  Co. 


These  com  posil  ion  a  are  obvionsl  J  intended  to  display  tbe  learn- 
ing of  their  aulhor.  We  shall  therefore  treat  lliem  in  their  own 
manner,  and  endearonrto  ihew  bj  an  Bnaljrii,  the  object  and  the 
meani  eroplojed  to  attain  it. 

The  intFoduotion  inC  minor  ii  tolemn  and  impresiive:  itcon- 
talni  mat  vetj  veil  conct^Tcd  niodDlatbiu,  particularly  in  the  lit 
Imi^  pages,  where  the  nnratpecled  introdnctioi]  to  the  key  of  C  fiat 
produces  a  fine  effect.  Here,  in  the  4th  bar,  the  1»s9  aeemi  to  give 
>  raint  intimation  of  tbe  subject  of  the  fugue  ^rhich  follows.  In  the 
6th  bar  of  the  Sd  score,  page  3,  there  is  a  gramraaticat  error ;  A|,|, 
ought  to  have  been  wrillen  G  natural,  as  it  evidently  forms  the  chord 
of  major  6  to  (he  base,  which  rites  to  (be  octave  of  the  hw  the 
next  bar. 

The  tnotlulation  fiombailO  to  the  mdof  (he  page  Ii  ikiirally 
contrived. 

The  fugoe,  which  is  in  four  real  parts,  and  is  also  in  C  minor,  ii 
conitmoted  od  a  aimplBiDlgeot  of  three  bars,  which  the  second  pari, 
in  the  4th  bar,  repeats  in  the  dominant,  accompniiied  by  a  melody, 
which  in  the  lOth  bar,  wben  the  Inn  takn  up  the  original  subject, 
appean  with  a  little  variation  in  the  1st  bar,  in  double  connterpoint 
^1  'ollava.  The  fugue  now  proceeds,  by  various  Irailations,  to  tlie 
SOlh  bar,  where  the  last  bKt  of  Ibe  Bubjrct  is  converted  into  a  short 
episode,  with  a  new  subject,  io  which  the  two  upper  parts  imitate 
each  other  in  canon  to  the  ^th  bar.  Bui  the  best  writers  never  in- 
troduce  these  lighter  and  ornamentnl  parts  so  soon  after  tbe  first 
treatmeul  of  the  subject,  but  reserve  Iliem  to  give  variety  in  llic  course 
of  the  work.  Here  the  bass  takes  up  llie  original  suliject  in  B  flat 
minor.  At  bu  SO,  page  5,  tbe  two  upper  parts  imitate  each  other, 
from  part  of  the  sulgect,  in  oanon  in  the  octave,  and  the  two  lower 
parts  Id  tbe  4th  .abon^  which  is  ingenioiuly  done. .  At  the  flth  bar, 
page  6,  the  last  two  quavers  of  the  2d  piano  fi>Ti^  and  tbelhrw 
crotolirii  of  the  last  bar  of  tbe  sniped,  proceed  between  tbe  two 
upper  paiti  in  mnoa  in  (he  dw>deciaui>  and  ii  so  contrived  that 


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LOGIER's  FUG0B  AKD  CAXOHS. 


-361 


when  the  annrer  lalui  place,  ai  in  the  6th  bar,  the  precadiBg  notes 
go  in  nu^-cantraTu^  with  the  addition  of  tnuuieot  notes :  the  laov- 
iog  bau  which  accompmiea  tfaii  ptpgiewlon  from  bar  i,  appMib 
a|[aia  at  bar  14,  in  connterpoint  all  'ottara,  and  the  two  lower  parts 

imitate  each  other  in  canon.  At  bar  19,  page  T,  a  portion  of  the 
subject  in  the  treble  is  imilattKl  bj  liie  bass  in  the  7th  below,  whilit 
the  Sil  part  imiUtes  tlic  3(1  a  Gt\t  abuvo  ;  bolli  tlicac  imitations  pro- 
ceed in  canon  as  fur  as  the  IStli  bar.  From  tlie  last  bar,  page  7,  to 
the  l^lh  bar,  page  8,  the  quick  succession  in  nhich  the  subject  is  in- 
troduced is  treated  in  an  able  manner,  although  there  appears  a  false 
relation  from  bar  1  to  2,  in  page  8,  between  ihe  treble  and  boss,  in 
the  second'piano  forte.  The  answers  always  fall  on  the  2d  bar  of 
theaufgect;  and  at  bar  3d  it  appean  in  roota^ntrario,  inlbcSd 
part.  At  thefith  Eur  this  contrivance  is  roveiKd,  Us  the  sulgect  in 
the  bass  is  answered  bj  the  Sd  part  in  motu-contiario,  wilh  the  ad- 
diliun  of  thirds. 

The  bars  17,  18,  10,  30  (between  the  Island  Sd  bats)  areagain  re- 
pealed in  counterpoint  all  'otliiva  in  the  four  fullowiiig  bars,  between 
the  bass  and  the  2d  part,  commencing  at  Ibc  SIst  bar. 

From  bar  3  to  13,  page  9,  the  answer  being  introduced  alwajs 
upon  the  3d  bar  by  a  false  cadence,  seems  to  intcriupt  its  progress, 
whilst  on  tbe  conlrarj,  the  quavers  dispersed  between  ihe  different 
p»rb  are  bosily  employed  in  pushing  it  forward :  this  produces  a 
good  efiect.  At  bar  SO  the  subject  in  the  1st  part  commences  per 
motnin  relrogradam,  irbtch  is  answered  in  the  Sd  part  per  motum 
contmrinm. 

Atbai3,pag0  10,  tbe  subject  in  the  3d  part  proceeds  with  a  small 
liberty  for  two  bars,  per  imilationera  congreganlera  mot o- contra rio. 
Upon  the  5th  bar  the  upper  part  commences  the  subject  per  motum 
ccnlrurium,  which  is  answered  by  the  3d  part  with  the  original  sub- 
jpct — tlie  last  bar  ol  which  is  again  moulded  into  an  episode,  by 
alleinntcly  moving  in  direct  and  contrary  motion,  a»  will  be  seen 
by  examining  Ihe  last  three  quavers  in  bar  7,  and  the  following  bar, 
page  10.  The  subject  is  answered  by  tbe  bass  in  canon  in  duo- 
decima,  and  qimilaily  imitated  between  the  1st  and  3d  part,  afiei 
wbicb,  from  bar  U,  the  imitation  is  by  canon  all'  otlava,- which  ler- 
mioalei  in  npaoK.  The  fUlowing,  page  11,  will  be  ibund  inteisst^ 
iiD^,  ud  proves  (hat  tbe  author  had  well  reflected  on  his  aobjeci 
before  he  beg^n  to  irodt  on  it.  After  lbe  patu^  bar  3i,  page  II,  the 


btpwt begin* and floEibolIfeniljfCt in  ftiotn  R<!U;  fnOitfAilw 
titr,  Are  ban  and  seemd  part  cmmtntt  the  tutljeet  and  Ibtlih  K, 
BdC  tbe  Im«  pR'aagniefitltidiioH  ttaHetU  pitt  fierdlitilDtitltfnMi. 
In  fbe.4tiibntlle8diHHll>egiQs(lre  ndi^iD  antaper  dinr.  Mv- 
tu-coDtrario.  In  the  Ath  W  tllB  Sd  part  flomffienCei  and  flOblKI 
the  Bubject  iti  the  dominant  per  onin.  tn  Hie  7tb  bar  the  1st  part 
aflcr  a  crotchet's  rest,  again  commelicet  and  finishes  the  tal^ect  tn 
the  doinirianl  per  dim. 

At  bar  12  (he  3tl  part  commences  and  finishra  Hie  subject  wilh  (he 
addition  of  a  few  noira,  and  is  answered  in  canon  in  drcima  qiiiiita 
.  the  1st  part,  apon  the  last  bar  of  which,  bar  13,  the  2d  part  com- 
mence* and  finisbei  tbe  (object,  irhlch  hai  been  len^hened  b;  a  few 
Bddffional' notfl^  and  vhich  carries  ittaihe  1*1  crotchet  of  the  19th 
bar.  fn  bar  15,  vrbeie  the  lubject  eoramenced  in  ffae  2d  part,  it  ii 
uinfensd  in  euon  tbe  3d  part  per  nliin  per  molani  contrarinm, 
wbick  i>  finiihed  b;  the  Sd  crotchet  in  tbe  19lh  bar.  The  subject  in 
the  ISdl  bar  Ii  again  answered  in  canon  alt*  oltaiva,  in  the  1st  port 
per  thcsin,  bar  16,  which  b  finished  by  tbe  1st  crotchet,  bar  SO.  At 
bar  18,  the  1st  subject  is  answered  in  canon  b^the  bass  per  arsin,  and 
which  is  finished  by  the  3d  crotcliet  of  the  SOlh  bar — upon  which 
notes  the  subject  bcgin!<  affa\i\  in  (he  2d  pafi,  and  ii  varioust;  imi* 
lated  titl  come  lo  Ihc  13lli  page,  where  Mb.  L.  hu  leftfbe  mb* 
ject  dnring  live  bnrs  to  (he  liass  and  3d  pKT^  wbib  tbe  2d  nod  M 
parts  proceed  in  tbe  free  style. 

la  the  fith  and  TA  bars,  the  Sd  part  imitates  <h«  aobject  per 
motnm  rectum  at  condaiiuoi,  and  vbich  are  again  answered  hy  the 
3d  part,  in  ihlrdi'Bt  tbe  laTeDtb  bar,  while  (he  bait  bold*  dofrh  the 
pedal  G|Vhich  is  derived  iVom  the  3d  ncteof  the  subject— the  same 
pari  Continues  still  partinllj'  to  imilale  the  subject  per  dim.  lo  which 
the  Sd  part  makes  a  fiiinl  rrplj',  onlil  at  the  ISlh  bar  all  the  dilTeFent 
parts  nnilc  together,  and  sink  to  rest  upon  the  dominant  of  the  ori< 
ginal  key. 

A  canon  ad  quindeeimam  gravem  follows  the  fnguc  injitme; 
the  subject  of  which  leads  offin  the  treble,  at  the  distance  of  a  bar, 
and  is  answered  in  the  bass;  the  Sd  and  3d  parts  are  not  in  canon, 
but  are  added  to  complete  tite  harmonj;  theSd  strain  of  this  canon, 
in  page  10,  commeoces  in  the  bass,  and  aflcr  continuing  for  twa 
bars  is  answered  by  the:  treble  In  qnindeeunft  acaUL  Tbe  Sd  and 
ad  parti,  ftom  bar  lOtobar  19>  'anmB  ctmfriTed;  Hie^  pTOCdid 


locier's  fugue  and  canons. 


363 


by  imiUtitm,  parttcularl;  Ihe  3d  part,  wliicli  in  bar  10  gives  a  strict 
imitation  of  the  bass  ia  octav^  acutS,  in  the  ISIIi  bar,  to  the  ht 
part  in  quints  gravi.  The  la&t  movement  in  the  key  of  E  flat 
ii  a  spirited  canon  in  octaTfi  ;  it  ii  led  off  by  the  ban  and  aosweied 
in  the  tnbte,  ni]  the  parts  moving  in  octara.  The  Sd  etiain  com- 
mence* in  the  tnUe,  anil  is  ansmred  by  the  ban.— This  caoMi, 
from  bar  1  (o  S,  page  18,  proceeds  in  Iwa  sttbjects — that  ii  to  say, 
one  subject  between  the  extreme  parts  and  the  other  belneen  the  Sd 
and  Sd;  the  former  U  answered  by  the  bass  in  undecimS  gravi, 
and  the  latter  by  the  3d  part  in  quartff  gravi.  At  bar  10,  the 
tno  upper  parts  lead  off  nith  tlie  subject,  and  are  answered  at  the 
compound 4lh  in  octaves.  From  bar  20,  page  18,  to  bar  T,  page  19, 
is  a  repetition  of  the  last  strain  with  this  difference,  that  Ibe  2d  snb- 
ject  has  been  aomevhat  altered.  From  bar  18,  this  movement  ap- 
pears to  be  the  free  style,  but  does  not  in  reality  ;  for  the  five  foUoit- 
ing  bars,  in  the  3d  part,  are  answered  in  canon  ail'  ottava  by  the  lira 
upper  parts,  from  bar  3  to  bar  C,  SOth  page.  Again,  bars  S,3,enH 
ore  ansmred  in  tbe  canon  in  duodecfmt  gravi,  la  the  3d  part- 
after  wbiob  thb  moremenl  proceeds  In  tbe  free  ityle,  and  in  variooi 
imllallonita  its  close.  There  is  by  far  too  frequent  aiecnrrence  of 
tying  a  short  to  a  long  note  In  these  canons,  wbbb  in  sftlct  writtn|* 
should  be  avoided.  We  wonder  why  tbe  M  canon  abonld  finiA  the 
duet  in  Eb,  instead  of  C  minor,  oalest  fin  the  purpoas  of  putting  that 
first  which  ought  to  be  last. 


TOL.  III.  xa.  zi.  3  a 


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364 


Piularak  Faakakt  md  Variaiioru  mpen  the  faantHU  Fretu^^^/ir, 
Dioa  m  fklire  eHreme,"  firt-  too  petformen  on  the  Pkmo  forte 
and  Ilarpj  amposed  hy  N.  Ck.  Bocfua.    London.  Goul^ing, 
D'Almaine,  Poller,  and  Co. 

J/ABitmce,'  grand  trio  eoneerlanle,  far  the  Piano  Forte,  Harp, 
Tlule  ;  composedbij  N.  Ck.  Bochsa.    London.    Goulding',  D'Al- 
maine, VoUa,  and  Co. 

Mtt.  BociiSA  is  amongit  t!ic  most  industrious  and  brilliant  wiildi^ 
that  have  lately  appeared ;  his  feitilitj  is  indeed  almcnt  surpiwBd 
and  acautioD  may  not  bo  unnecessary  lo  guard  'lin  af  inrt  indul^ 
iag  Iii<  veifi  too  freely.  He  is  not  rery  likely  to  fall  t«  the  tevd  flf 
thoBBvho  "Bpeakan  infinity  of  nothing;"  it  is  tnw,  bat  tba  tical- 
ties  will  beai  only  a  cerlain  itrain,  and  whoamflntt^im^tjlie^  b»- 
yond  that  point  must  and  ivill  lose  strragtlii 

Tlie  Pastorale  Fantasic  is  nn  agreeable  cooipotilion — light,  fa* 
cite,  and  inuloflious,  (preserving  throughout  iU  rural  IniAgeryJ; 
ueitlier  brilliant  nor  aspiring.  lis  slnicture  is  sucha*  lojecvmroefld 
it  to  pl.iycrs  of  innduralc  ntlainmcntt  on  both  iastruawnti.  The 
varialioris  ar^  siiii;iilJr,  ai.tl  the  first  is  full  of  rcplicalioas.betw«n 
the  perfoiini/ts  oii  tlic  \iiai\o  forte.  The  second  is  for  Ihe.Jiarp,  and 
it  contains  some  poweiliil  execution.  Tbo  third,  in..ii|an)h  lime^^ 
the  moit  pleasing ;  and  it  ii  ailylein  vhieb  Mb.  Bouiha  exqeU.fi 
weU  as  delights.  In  concUqioni  the  compoKi  return^  to  the  pattorpi 
■abject  Umtcommcnces  bis.  Icnon,  and  which  lie  worlu  up  to  the  end. 

L' Alliance,  on  the  contrary,  aims  at  gnnilbrilliaaqy,Mdi'^pfnj* 
all  the  three  instrumcats  very  cfTeclively.  The  fijr^  I|fpT^f|ff)t,ii 
allegro— con  brio  e  fuoco,  and  there  is  In  the  gei)eiaLTad(,fanT)h^ 
fire,  with  considerably  but  brief  irilerspersions  of  sustained  .iq^dy 
fur  lh<>  harp  and  (lute.  The  andante  and  the  variations  a^p  priiici- 
p:illv'  ili'^tiiigii  tilled  by  the  same  animation.  The  fourth,  which 
rfiiicliiih  llie  conc('rlnr)(c,  is  a  curious  staccato  movement  of  equal 
nutcs,  increasing  in  rapiilify  (by  diminulion  as  it  were),  in  the  piano 
fiirlc  part.  The  wliole  b  certainly  effeclive,  but  it  requites  consider- 
able poncr  over  all  the  instruoienls,  as  nrcll  as  spirit  in  tlie  pcr- 
formers.  But  little  is  given  to  grace  or  fiovr.  FoKe  aod  fin  are  to 
carry  all  before  them. 


m 


A'ighls  of  Music ;  for  l:cn  Voices ;  hij  Bktigini,  -jciih  Words  by  Thos. 
Moore,  Esq.    \jf\i\Ao\\.  Pouot. 


The  Maid  of  Valdamo    a  Duel  for  Iwo  Voiceii  the  WordtbyW.F. 
C^lqrdi  the  Music  by  John  Beld,  of  St.  Peter^at^.  London, 
Clonentl  and  Co. 
it  ^BWa  iBerp;  a  Duet,  composed      J.  Mardonald  IfaTtis;  Me 
fFordrb^  the  EUrick  Shepherd.    London.  Power. 

Good  EiiglUb  daefs,  as  ve  have  bad  occasion  to  tcmark  before, 
we  p' scarce  coinnioJiC}',  allbongli  we  simiild  imngiiie  tlie;  \ioiAd 
be  the  publication  most  in  request  iicsl  to  single  airs.  We  are 
ibeiefbire  aiway^  w'icilous  lo  bring  tliose  wliich  appear  inia  notice, 
OS  ve  consider  we  Itius  render  an  acceptable  service  to  Bnateurs  in 
search  of  aacli  Ibings — and  to  art,  vbich  also  needs  them. 
**  Sif^  ef  MAii^*  Is  a  UtcIj  strain,  bitf  not  grcaiU^  to  be  com- 
manded. 

"  Tb  JVb&I  VddarwP'  Is  a  aimple  and  vary  sneM  meloiljr, 
IweMhltg  (fae  liealtfc,  ebeai^MH,  -and  gaiety  of  «  deligiiled'fi^ril, 
Ttr6<D«1|y"pauage'tfaat  dtsgflsBiea  us  ji  ibe  eltfoinatic  niodulalion  in 
the  third  stafT  of  tltc second  page.  Thesanie  air  is  published  singly, 
and  tery  pleasing;  it  \X,  thougli  ns  simple  ns  mny  be. 
""O  dinna  meep''  is  in  a  diRercnt  stjlc,  and  U  bj  far  IIjc  best  of  tlic 
Ibree^  if  l&ingt  so  dissimilar  can  be  compared.  Tliis  mingles  plain- 
tiveness  triUi  a  sort  of  promise  of  joys  lo  caiuc :  llie  incloitj  is  very 
l^d,  and  both  parts  sing  veil.  We  do  not  liuuevcr  lliink  the  divi- 
tiW)  lAWar^i  the  end  in  good  la^e;  it  is  too  gaudy  and  stage-like. 
Pift^wnMXAlWcigt^weliare  kcb  of  ftj^.  tUaa|s>  lalent.in  dnqt 
vriluiy,  his  gewui  appears  if  ns  (o  lay  that  way ;  and  we  sbpuU 
imimvmd  Ut  iitm  n  Mduloos  9tiidj>  at  the  old  English  and  Italia* 

i'm  mOtm  «f -fltift?  vpplor*  4«>ide»  tbm  of  Moz ABT,  Pabp  and 
Roiiixi  have  produced  some  most  elegant  and  expressive  nior- 
iOeodK. 

By  the  vay — it  is  a  carioos  fa^t  that  Italian  music  seldom  seems 
it«  go  Vfil  wiib  English  words.  Is  this  merely  the  cfTect  of  a  prc- 
vjow  aoqBMnlMQe  vUh  ibe  Jlalien,  pr  h  tbe  rpmark  true  in  itself.' 


3b  2 


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366 


The  Bomij/  Boimi/  Owl,  afatorite  Gkefor  Ikree  vncttt  compmdhtf 
John  Davy.    London.  Blaohman. 

BrUaania's  Bubearlcs,  a  Gleeforikrwvokei,  the  Mtiae  hj/  Jdbi  JPoiy. 
Lnndon.  Cbappd  and  Co.  > 

We  Fahy  IhOtdeti^f  imparl.  Glee  for  Otree  wnees,by  Sr  J.  Ste- 
irensojif  Mtis,  Doc,    London.  Power. 

Busi/,  curious,  thirsly  Jly,  cn  Anacrconlie  Gke  for  four  tmces,  by  T. 
WolmhUy.    London.    Chappcll  and  Co. 

O'erthegladitalerijaJioundforfbttrvokeitbyT.  WaimUIet/.  Lon- 
don.   Chappell  and  Co. 

A)  those  vie  love  decay,  an  Elegiac  Gke^by  T.  F.  VUm^fey.  Loii> 
don.    Cliappell  and  Co. 

"Demand  creates  sup  pi j,"  lE  amazini  in  commerce,  and  if  we  ap- 
pljr  il  to  the  commerce  of  music,  it  appears  to  be  obmus,  hy  the 
paucity  of  Engliih  ghei  pnblisbed,  (bat  the  decline  of  encourage' 
ment  extended  to  English  musio  it  noi  exaggerated.  Fqr  if  tiiere  be 
any  specie*  of  composition  in  wbicfi  oor  nattve  musicians  liaTe  pa^ 
ticularly  excelled  it  is  in  the  glee ;  yet  ot  late  few  have  appeared. 
One  indeed  of  acknowledged  excelleoce,  by  Mn.  \Vii.i.i.*ii  Khv- 
VETT,  "  There  is  a  hloom"  was  publitbed  by  tiie  Harmonic  Inaliiu- 
tion,  bul,  we  are  sorry  to  understand,  stopped  in  ils  fall  career  of 
reputation  by  the  circumstance  of  the  words  being  "property,"  at  the 
pbra&e  goes.  With  this  exception,  nothing  of  particular  distinotion 
has  (within  our  knowledge)  lately  been  printed.  But  we  are  nnwil* 
lingtbBt  (hla  sound  and  wholesome  English  tasle  sboold  decay,  if  say 
eSbrtfofonn  can  stay  the  progress  of  ib  decline  or  recall  (he  patrM- 
age  that  bow  m>  decidedly,  we  fear,  is  wandering  towards  fiHcigil 
nmic.  We  ban  tiiertfore  ctdkcted  the  few  that  htn  mobed  u 
Into  one  artidt^  Willi  a  view  to  ptace  (be  luEtject  before  tbspnUioud 
the  profesricMi. 

The  two  lirst  under  our  review  are  convivial  and,  we  may  add, 
dramatical.  We  may  remark  that  the  words  of  theiecond  have  been 
set  in  a  vastly  superior  maaner  by  Ma.  Walmislev,  with  a  double 
[oano  forte  accompaniment,  and  is  indeed  one  of  the  moet  apiiited 
-coBtpositioDi  of  it*  kind.  Bat  Hx.  Pamt'i  it  spewlly  appro- 


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SOT 


piUUd  to  tbc  (able,  and  oven  to  a  paiticalBr  toatt, "  TTie  Ifa^," 
whnyUiTill  pniMblj  be  found  effiMtire. 

fiiR  JohiiStevbhioh'i  is  ligbt,me1odioag,  and  dramatic;  capa- 
ble of  being  rendered  very  altracUve  if  sung  those  who  knowhopr 
to  make  tbe  most  of  it,  thioagli  tlic  agency  of  pause,  empbasii,  coo- 
trasl,  and  spirit. 

Mb.  Walmisley's  ate  in  a  different  and  a  far  better  atjie  of 
writing.  They  arc  obviously  the  productions  of  a  ralad  tloctuTed 
with  tlic  classical  Icatniug  of  music,  for  he  proceeds  io  a  sound  and 
masteTly  way  to  the  use  of  his  materials.  "BiMf,  curious,  tliirsly 
ID  four  pBrtt,U)dcotMi«ti  in  a  conversation  between  the  parts, 
invbicfallieqaestiinii  and  atuvers  arc  given  in  duet  by  them  in  di- 
Tenlfiedoombinalioaa.  ^' 0*  er  the  glad  walera^'  a  the  bold  opening  of 
LoBD  BrBoii'BCbRiafr,Bet  wUbconttderableanirQBtuintandfblloir- 
iitg  at  no  great  distance  tbe  veiy  tpiriled  pievioiu.  perfbtmance  of 
tbe  nme  hand,  "  TfleJl/anmr*  o^JJi^Jlim^'' which  we  have  before 
alluded  to.  The  last  is  a  trlbule  of  regard  to  the  memory  of  Mrs. 
and  Mb.  H,  Gooobehkhe,  (her  son,)  whose  ncquireinciils,  as  an 
amateur  piano  ibrii'  player,  wrte  most  highly  calcemed  by  all  who  en- 
joyed the  pleasure  of  hearing  that  gentleman.  Mn.  G.  vas  Mb. 
Walhisley's  pupil.  T^e  compositloo  before  na  ii  in  excellent 
taste  botb  as  to  tbo  words  and  miuic>  which 'm  grave,  ti)lemn,  and  in 
an  eccleaiasUcalttyle, 


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368 


lAaot  a  Song,  sjA  maeem^aAnaH  'fitr^'PlaM  K^e/ttEw  fir 
Jffom,  Flute,  Holoneello,  and  DotAk  Bait,  (ad  SbUum:)  &m- 
posed  hi)  WiVkan  Honlof,  Mus.  Bae.  Oxon.  London.  Chappell 
nnd  Co. 

This  song  has  Ihrec  clnimito  separate  place  and  ezammalion — 
firsf,  the  reputation  of  the  author;  sccondlj,  its  being  written  for  an 
orchi^tTn ;  nnd  thirdljr,  its  intrineic  ■upeiiorltj'. 

We  slin\i1d  describe  lite  peculiar  distinction  of  such  a  style  at  that 
in  wliLcTi  Mn,  flonsLiir  nriles  to  be,  that  it  improves  and  gnins  fipoa 
the  liearur  at  every  succeeding  repclition.  Mere  pretlincsses  itrike 
upon  the  ear  at  once,  but  are  never  so  itrongly  relisbed  as  at  first. 
CorapositioiiB  of  lolid  nerit  seldom,  on  the  Gontrar;,  arrive'al  Ibeit 
pllcb  of  pletalDg,  tin  after  frequent  peirormance.  Th6  style  ^  tbe 
long  before  na,  Is  in  the  chaste  milDner'of  that  middip,  modern  age, 
when  passion  vras  mixed  ivlth  sentiment,  rather  than  iubjedtecl  to  the 
Budilcn  impulse  of  sense.  There  is  in  the  whole  manner  something 
allied  to  the  best  songs  of  Jacksoh  of  lilxcler.  8>ropltJ:i(y"Rnd 
■Irengtli,  and  natural  beauty  arc  here.  There  is  also  grcaf  tenderness 
and  ilcep  ictAuv^.  Tlio  nccompanlnient  shews  Ma.  HoIbsley's 
knowledge  of  eii'ecl,  niul  tlinf  piirily  oflaste  ivhich  isllie  result  of 
long  study  and  experience.  lis  pliilosophical  adjustment  to  e^presi 
-  tbedifierent  degrees  ami  agitations  of  passion,  is  also  very  ndmirable. 
We  cBiiDoi  perhaps  admit,  that  "  Laura"  equals  "  The  Sailor's 
ttdiai,"  in  tbe'  Intensity  of  its  effects,  or  in  the  extreme  beauty  of 
radody  f  bat  it  hai  tlic  same  delicacy,  the  same  natural  forcc^  di&r* 
fng  ar  to  tbe  latter  qiiallty  something  in  d^ree,  and  ii  not  nn- 
worthy  even  oftheaulKDr  of  *<  Oenlie  Lyre"  ani  "  Tie  Tempest"— 
B  |H-aise  which  is  far  too  Iiigh  to  be  lightly  bestowed,  and  which 
nothing  but  merit  Oonid  wtn  from  any  one  wito  Beta  any  trIds 
upon  tbe  cstitnation  in  which  bis-  judgment  nifty  be  beld  by  tha 
pablUi. 


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m 


Jfem  InttMipnt  of  ttmnent  Composers,  in  Fourlem  Varintiom  for  the 
Piano  Forte  on  a  faootmle  Air  of  RossinTi,-  composed  btf  J.  £a- 
tour,  JPiaHbU  io  U»  Mi^jf.   London.   Ckappell  and  Co. 

It  hu  oflen  been  s  favonrlto  extatXte  with  jonng  uilkora  dnfring 
Ihoroagfaly  (o  appcebend  the  cIiBmcterutics  of  style ,  (o  write  ia  the 
manner  of  (be  person  nhoK  beaoties  the;  with  to  undenland  and 
to  appropriate.  The  same  expedient  hai  been  emplojred  to  ridicale 
the  failinga  or  rciluce  the  estimation  of  greslneu,  and  parodj'  in 
oni  own  days  has  liad  Its  professors,  from  Mb.  Hoite  to  Mn.  C&H- 
ViRS.  A  few  jcara  ago  the  opening  of  Drnr^-lane  Theatre  aSbrded 
two  gentlemen  an  opportunity  (and  they  used  it  to  good  pnrpoce)  to 
bring  tbe  pcoaliaritin  of  Hm  poett  ot  tba  injr  under  tbe  genentl 
abnmtioii.  All.trf  Iheu  li»e  partalten  OMie  or  lets  of  atirannd 
of  ridicid«  In  Ibeii  alnictuw;  but  non«  hxn  etcaped  (be  alltnemeat 
Dfakih  ii  at  once  tbo  prsiso  and  tbe  «ane  of  miolci)-.  If  Hb.  L a- 
TouK  baa  nrt  abiolalaly  introdaoed,  yet  be  bu  carried  norieal 
inUntioa  to  e  greater  eKtcnt  ttan  any  other  writer be  alone  haa 
digeilad  it  into  n  oonptete  wbole,  Into  a  icienlifio  and  practical  lec- 
f  urs  on  tbe  ityle  of  living  oompoKn,  players,  and  singers,  in  his  first 
work,  f  Adf flfwwf  t^manjf  of  the  moil  eminenl  Composers),  and  in  this 
wibich  eontlfttiM  and  completes  the  aeries  up  to  the  present  hoar.  At 
tbe  ontnt,  bowner,  we  mnsl  do  Mk.  Latour  the  jostice  to  say,  be 
bti  (QKCnted  n  very  difficult  task  with  the  greatest  delicacy  and  in 
the  bappiett  possible  temper ;  for  altbongh  the  character  of  every 
profesnr  who  beoomei  in  turn  tbe  model,  ia  well  and  even  foroibly 
Bade  onl,  wb  cannot  diicawi  the  falntot  (race  ot  n  dlspoeltlcMi  to 
bring  defect  to  radden  light-  rWuf  in  tpmAm  indeed  may  eaob 
of  (hoso  gentlemen  tay  as  lie  regards  the  reflection  of  himself  but  he 
will,  unless  he  feels  (what  many  of  us  qnill-nien  howem  do  feel)  a 
keen  sense  and  keener  irritability,  which  make  ns  cry  out  at  the 
•ospension  of  (ht-  sligtilcst  particle  of  dust  that  dances  in  tbe  son-beam 
over  oni  morbiil  limbs— unless  he  be  of  this  unfortunate  toropera- 
ment,  he  will  view  his  shadow  as  he  pUfMs  like  the  reduced  and 
impniftd  image  in  a  convex  mirror.  We  aie  therefore  tempted 
to  wiib  H».  ItAiotiK  bad  ebonn  ta  call  bU  work  *■  lUoitnllon," 
lUlwr  Oian  "Imttttienii"  fbr  m  tbink  it  wouM  hm  hum.  the 


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370 


L&TOUR's  KE^  IKITATIONB. 


juster  title,  so  kindljr  and  «o  jiulicioiul;  hu  he  effected  his  puTpotc. 
Uebac  coniplelely«(caped  tbat  mortal  maladj  to  wliich  the  imitator 
b  etspoMd— lotr  h«  hu  nricher  given  enoDBiageiiieiit  aor  msm'  to 

"  While  sufferiog  nature  griereo." 
Ml.  Latoou  begins  by  a  short  iDtroduclion,  ^fhich  annoiincei 
the  theme,  but  (he  composer  seemi  too  eager  to  get  to  hii  main  pur- 
pose, to  dnell  upon  this  part  of  his  work.  This  tlienic  bears  acatual 
resemblance  to  the  well-known  an  J  beautiful  "Su/  A/nrgine,"  and 
may  indeed  almost  be  called  a  vadatioa  upon  it.  He  places  Mb. 
K1A.I1LMARK  in  the  front  of  hb  picture,  and  the  likenenis  camplele. 
Tab.  I.  Prefixed,  m  tupeot,  ti  alto  •  trait  of  geoDiiis  homour,  il- 
tbongh  it  Beemi  to  Indicate  no  mon  than  the  fint  number  of  the 
BDcceiilon. 

The  second  ii  Mr.  Boorca,  vhote  manner  is  wdl  (track  oC 
"  iillegro  con  fmeo"  and  eon  Quito  are  not  amongst  the  leut  pouita 
of  similitude.  Ma.  Latoub  has  here  contented  himself  with  a  ge- 
neraliioUoni  and  in  troth  it  is  snfficientlj  like  the  execntiTc  parts  of 
Mk.  Booiua'b  vrlting^  particularly  his  cadences. 

Hb.  CiPntAHi  PoTTSn  is  ab?iouBly  modelled  upon  hb  sonata, 
(Op.  I}puUlalied  last  year.  Mn.  C.  Potted  is  a  rising  mosician 
of  meritjond  while  Mx.  Latouk  has  paid  him  a  compliment  by 
ooniidering  hti  growiiv  fitmn  niffident  la  entitle  him  to  a  place 
among  the  mon  nterao  ofaampioni  of  science,  we  can  trace  peculiar 
aoikaof  the  oscdlent'dupantion  in  which  the  imitatunw  an  written. 

Hb.  Rawlihoi'i  again  is  n  tpedfic  ifflilatloii|  drawn  from  Ui 
No.  10  of  the  National  Ain,Bnd  hii  "itetoHrd;  beAone." 

Theaketch  of  Mb.  KALBBBENHEn  is  perhaps  the  least  vivid  of 
any,  becaow  it  muit  'be  exceedingly  difficult  to  picture  the  fulness 
and  the  fancy,  the  overflowing  of  execution  in  his  sonatas.  This 
appears  to  be  aimed  at  his  AaMn  Aiar^  as  well  as  at  his  general 
style.  The  difGcnlty  i*  certainly  not  dhnlniahed  by  the  ev^ent  de- 
termination not  t(i  draw  a  caricature  aor  indeed  to  exaggerate  a 
■ii^Ie  line. 

As  on  artist  loinetimea  chooies  to  paint  hiaudf,  so  hai  Hb> 
Layoub  taken  hii  own  likcneM.,  Hie  fiirmcr  friofafre  was  oeitointy 
drawn  with  titt  good  bumonrad  franknets  tluttdursitoiKi  the  wc^ 
'and  probably  the  man.  '  ArOmfe  wai'  tbe  word,  and  tin  compoiei 
'vaB  1m'  indolgent  to  hie  own  fotble  than  (a  tkOM'oT  Ui  brrtfcMi* 


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LLTOtlR'g  IMlTATIOni. 


Hfl  then  choM  (nty  wbelj)  to  Tepresent  the  Court  Musician  in  hit 
goA  of  itote— bii  **  raaiting  wnbitiim."  Thii  mu  ihiewill;  and 
oMadUIj  to&mlMtmty  combBtaiil  (and  every  pBTodiitj^oBldda, 
fint  to  MiTch  vbcK  hU  own  defencM  are  aisailabls.  The  lecond 
Imllation  himKlfia  in  k  moro  aOtcting  habit,  and  one  nhicli  he 
betler  dewmi  to  irear>  for  we  certainLjr  hare  coniidered  that  eue, 
gner,  sod  flow,  were  the  trdett  cbanuiteriilics  of  Mb.  IiAiotra'j 
general  manner,  and  in  theie  he  now  appears. 

H'b.  Di2i  ii  lakea  at  large  we  presume,  for  we  cannot  trace  the 
fmitatlon  up  to  anj  particular  source,  but  we  are  incliaed  to  tbink 
he  win  not  diKtwn  the  meroblaRce,  neither  will  Mb.  Bobbdwes 
bsTeuj  need  bt  complainiMa.  Latodb  having  apparent! j  sought 
out  one  of  bis  mMt  original  variations  in  his  Caledonian  Air*  (Oid 
SMn  Gmy)  for  a  modd.  Tbe  position,  too  is  well  choKo  between 
the  mnltitudiDoai  uotes  of  Hb.  Dm  and  the  volubilUy  of  Kb. 
Hbtss'i  passage!  of  execution,  "the  latter  campoeet  oertatnly  pro- 
tented  *n  eiBbarraisilig  GhMce,  (or  his  love  melody  Knd'gracefbl* 
ness  would  lay  (in  our  rainds)  a  claim  to  precedence.  Mb.  Iiatosb 
,  has  however  clioien  othcrwbe,  anil  given  him  in  hie  Totatilimlinn. 
Tbe  tenth  variation  is  a  copj  after  Mb.  Nbatb,  in  hit  Grand 
Sonata,  Op-  2.   This  is  strictly  close. 

Upon  tlie  next  in  succession,  Ma.  Moscitei.Es,  Ma.  Latoob 
comes  very  qnickly,  exhibiting  not  only  a  general  nulion  or  Ma. 
M.'s  peoaltBC  ability,  but  alioof  his  own  sbarpoesi  o(  apprehension. 
^Ihe  Philhamumie  Concert,  where  Mb.  M.  fint  played  in  tbit 
eoDBtiy,  Bl  the  end  of  his  oonoerio,  initend  of  the  roado)  be  fntro- 
daced  an  air  <irith  Taiiation^  wbldi  beanr  a  near  similitnde  to  "  7VW 
PaB  of  Parit"  The  stroctnre  of  one  of  tie  nriatioaa  was  con- 
trived M  a>  to  exhibit  tbe  peculiar  skill  of  the  p^yer,  in  (he  execu- 
tion of  tri|deta.  Thi*  is  the  part  which  Mb.  La.toub  baiaelected, 
bntHn.  Mmohblu's  were  double  notes. 

ThctweUihis  Mb.  Sob,  whose  imtrontental  compoiilians  do  not, 
bowaver,  convey  an  adequate  idea  of  this  musician's  liappieit  qnoli- 
Ito.  W«  hAw  often  intended  lo  do  justice  (o  Ma.  Son's  fc-cling, 
llM^  tmd  ialUei  general  tdent  in  the  construciion  of  his  dcgnnt 
B>talta%aadltbBilSo&>iv«aaipedU.  Butwehcrc  Ukcn  uccasion 
Ift'MMaMlHad them  uwoAttimcb  merit, and  weaball  probably 
bateaflar  traat  Ibem  nun  at  htge. 
HwAititMb  bmae  af  thtf  bei^  not  thcTeiy  bert,  in  the  collee. 
TO^.  III.  wo.  XL  8  c 


LATOUR'S  IMrUTlONE. 


lian,  and  i*  to  trulj  in  the  munner  of  Me.  Rieb,  that,  ai  ike 
countrjman  said  ofGAiiRicK,  in  Hamlet,  "Ibe  gtnUememwu  thtre 

himself." 

The  laBtjOfMR.  Griffin,  is  clearlj  from  tlie  rondo  attbeoixl  of 
bii  first  concerto,  and  is  amazingly  like. 

Sach  are  the  mBterialti  of  Mb.  Latocr's  little  book.  Tbejate 
lo  lu  extremeljr  amusing,  and  being  calculated,  as  all  things  of  the 
kind  are,  nbelber  in  literature,  in  d»ign,  or  in  music,  to  draw  iba 
mind  lomirdi  and  to  impreu  upon  it  more  itron^y  tbe  grand  and 
leading  markt  of  individual  manner,  «e  can  bat  consider  tben  as  ■ 
likdj  to  be  nseful  asdslances  in  fbrming  a  gnienil  koowledgo  of  (be 
style  of  tbe  most  fatbioDBble  and  approved  vriteTB.  Wben  wo  first 
lolled  at  the  imilationi,  ire  confess  ve  bad  anticipated  a  more  roirth- 
ful  article.  The  Rejected  Addresses  ^  merry  memorjf  nishetl  npoo 
recollection — 

"God  blfss  llic  Rogcnf  and  tlic  Dute ,of  York,'* 
"Wu  perhaps  pnrallelled  in  prospect  willi  tlie  Pianiste  to  Royally— 
"  Takes  out  the  doll  and,  O !  my  stars, 
"  He  pokes  her  bead  belv een  the  bsr^ 
"And  melts  off  half  her  nosel" 
■With  Vab,  I— 

"  What  stately  irisioii  marks  my  vaking  sense," 
With  aliegro  con/uuco— 

"  Midnight,  yet  not  a  note 
"  From  Tower  Hill  to  Piccadilly  snoied," 
With  a  certain  ondantc — 

"  Balmy  cephyrs  lightly  flitting," 
With  Con  deliealeua.  Con  gusto,  &C.  Sec. 
Nay,  we  bad  even  brought 

"  Whitford  and  Mitford  ply  yonr  pomps, 
"  You  Clutleibuck,  come,  stir  your  slumps," 
And  an  AUegroJgUato  logetheri  and  in  short  there  were  image* 
■■plenty  as  bleckbenies." 

We  ihonglit  to  illnstrate  living  poets  wulinDdeianabj  audi  other, 
and  to  shew  perhaps  some  coiocldeoces  which  the  mosit;  may  haw 
with  the  literature  of  the  limes.  There  may  be  mm  aoalogy  botween 
tbera  than  is  at  first  suspected.  Each  of  these  ula^W  taaj  be  aad 
we  doubt  not  is  indebted  lo  the  <mier. 
But  we  fairly  cooffss  Ma.  Latooji'i  diitntion  soband  us,  and  the 


LAKHnt'i  DminoHi. 


end«ivinir  to  rollonr  hit  adniirable  lempei  raodarafad  our  diipoii< 
tion  to  mirlli.  Our  readers  niigbt  periapt  have  ecjojed  an  innocent 
laugli,  as  far  as  Ihey  were  concerned,  bnt  Ihty  vill  not  be  the  less 
benefiled,  if  llicy  participalc  the  lesson  n-enrethnnkful  for  hnving  re- 
ceived, to  clieck  the  |iropen*ilj'  so  oammon  to  liumnn  iiafure  loiviirdu 
(hat  speciea  of  aroiisemenl  wtiichmny  inflict  (though  uiiinicritioiinlly) 
a  wound  upon  the  feelings  of  Jeserl,  wliluh  he  wliostriket  can  nuillici: 
ileal  nnrasiungc.  And  this  we  think  is  IlrC  peciilior  prniscduc  to  Mn. 
Latoub  for  his  treatment  of  Urh  dilRcnil  uiidurlakin^.  He  lias 
nrilten  iiolhiiif;  to  give  pnin.  He  hns  in  ilie  coiilrnry  nlivioiibly  and 
■eduloiuljr  avoided  prominent  error'',  when  pnnnini'iil  i^rrur.s  were 
•ufficiendj  viiible  to  have  juitified  hia  making  il>em  a  \>nil  of  hit 
«nUine>  But  ho  haa  ^latiiaed  from  this  and  cverj  otber  specif  of 
«tiack>  We  admin  wd  coQiund  bis  happy  temper. 


OJljf  b>  the  ffbodt/  apiatunU  Song,  eampoied  by  Ha^At  Com, 
•  London.   Cliappell  and  to.  • 

The  Borniy  Owl;  the  Musk  compoted  b}/  George  Daaee.  LondoD. 

Chap  pel  I  and  Co. 
Amynla;  a  Pasloral  Song,-  Ike  Mu^e  eompoted  bjf  Ocorge  Dmce- 

L.>ndon.    Cliappell  and  Co. 
Ode  on  SoliliiA- ;  set  la  Music  by  Pio  Louis  GoK^tUilU.  London. 

(Fortlie  Aiillior,)    Pliillipsand  Co. 
Through  the  Forest  hate  I  gone  ;  a  CansorKl,eompo*edbj/  Mrt.JotiH 

Byng  Oalik.   London.   Birchall  and  Co. 
WUh  Lme-fraught  Eya;  Ihf  Mink  bt/  J.  C.  CUfion.  Loadcm. 

Clomonti  and  Co. 

Theie  songs  differ  less  in  merit  than  in  sentiment — for  here  Ii 
choice  for  all  comers  and  all  complexions.  There  is  however  a 
padatioit,  aad  we  adopt  saccedton  ai  the  easiesl  means  of  detof  min' 
iag  (Tiitmllj  wt  leaitj  onr  notum  of  their  Mmal  d^reet. 

3c  S 


37i 


%KW  BALUDI, 


Tlx  ftnt  faaf  raelodj,  bat  not  of  an  cleraUd  cut,  tot  id  tteom- 
mendatim,  jret  it  baa  sgtea)>le  ballad. 

Mk.  Daxdb'i  Bonnjr  Oirl  !■  In  a  good  Mmrhiat  tAjU,  vilb  a 
clionu.  It  is  ibi  a  bow  toEm,  and  Its  manna  macks  lomriliiiig  of 
lliB  antique.  Amynfa  isslso  a  obasfeand  rimplftiliaiii. 

Pope's  Ode  on  Solilude,  or  taDier  on  Sural  BeliKieenI,  is  the 
traiitlalion  ofHoBACB's  "  Beahu  ille  qui  proeul  negotUi" — aslngulsc 
saliject  for  a  song.  But  Ma.  Cianchbttimi  shews  a  strong,  a 
beallh}',  and  a  classical  laste,  in  bis  Ireatment  of  it.  He  opeot  bit 
piece  with  a  calm  and  tempered  melody,  snslained  and  pleasing.— 
He  soon  animates  his  measure  into  a  livelier  degree  when  be  comn 
to  the  enumeration  of  Ilie  recrealioni  of  the  contemplalivc  pliiio^o- 
pherof  nuture;  and  lliough  l!ie  words  are  rugged  (unconcernedly  if 
one  of  tlicm)  and  in  some  instances  prosaic,  Ibere  is  a  sweet  snd 
placidsentiinent  that  attaches  tbembdand  tbe  ear  tiiroaghoQt  it 
Ibe  close,  vheia  the  poetry  becomes  soraenhat  patbelic,  be  agsio 
retams  to  a  sloner  moTement,  which  gracefally  and  feellngi;  con* 
cindes  the  ode.  We  suspect  Itiis  song  will  improTc  on  acqusiDt- 
arice,  and  we  liked  it  too  at  first. 

Mas.  Gattib's  canzonet  is  light  and  raneifal;  it  baa  sprightlinees 
without  vnlgarit;,  and  melod;  without  detceuding  to  common  plsce. 

Hb.  Gt-moii'a  is  a  senlioieotal  ballad>  of  pure  exprasioo,  laj 
simple^  and,  as  *re  ofleem  it,  rerj  swceU 


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IfvJte,   Cha[ipel[  nod  Co. 

There  have  been  fw  great  pLnycis  who  hnvc  not  bcrn  nlso  com- 
posen,  and  lliose  of  llic  piescnl  ilaj  flic  genrially  vnliimhiinis  com- 
powrs.  MB.  Clementi,  Mr.  CiiAMEn,  Mn.  Kai.kbrennei., 
ami  Mh.  Ribs,  an.l  irtdco  )  niovl  iri-lniiiK-nliilists  .ire  li  vi(i«  it.sl.mcts. 
To  be  n  finished  player  :inil  n  wttu-r  wo  set  ciiiL-.(,Lrii!_v  Iiii|';iiti^,  but 
it  api>enr8  to  iik  (o  be  no  mure  :i  ni'cess^irj-  ((iri>L'(jiiciirc,  lliaii  lliiit  n 
gTeal  aclar should  be  a  lra<;ic  poet.  Fur  Ihc  iiclitr  becomes  as  cnn< 
Temant  wilb  Une  pasinges  of  fine  poi^lrj',  as  the  indrumcnlalUt  it 
wilh  iraaginBlive  anil  eKprcssive  niimical  plinitet.  Tile  one  b  u 
skillrd  in  the  knowledge  of  stage  efivcta,  ai  tiie  other  »  in  (lie  con* 
ilroc^Dtiof  liBriQoniei,  tbedHposlllon  ofpiul^andlhe  genlusof  hit 
imtTDineiit.  Trt  thongh  acquaintaDca  kIA  cai»DinsiB(o  vorka  of 
ut  b«oneof  tbeelenwDtsof  theacootuplialimentt  of  an  anlbor,jet 
vethink  it  bj  no  means  follows  in  music  any  more  tban  in  dramatic 
compofiition,  that  a  man  must  write  well  because  he  executes  adraira- 
bl;.  We  have  been  led  into  fbeie  observations  by  the  examination  of 
Ha.  Neatb'b  Opera  2,  which  appears  to  us  tobedone  iWfd  MinertS. 
The  length  of  years  (bat  haj  elapsed  ^ce  the  publication  of  hii  first 
work  either  proves  (whtcli  'ne  suspect  to  be  the  case)  that  he  is  not 
goaded  to  production  hj  an  overflowing  imagination,  or  (wliich  ve 
think  cannot  be  the  case)  that  he  ponJers  long  and  polishes  elabo- 
nldj*  Wfl  estinate  Un.  NcAie's  talents  as  a  performer,  as  an 
initnictor,  and  as  b  man  of  taste  very  high,  and  since  we  find  his 
second  composition  does  not  accord  with  our  own  niid  wilh  the  gene- 
ral opinion  of  his  ability  in  otiior  dc|)arlmcnls  of  lii^  nrl,  we  must 
accept  the  supposition,  lliat  be  has  ivriKcn  rallier  in  compliance  wilh 
onstom,  than  from  any  decided  aptitude  or  incliiuilion  for  composi- 
tion, until  this  opinion  be  overturned  liy  a  new  niiil  iin|ipier  effort  of 
his  genius.  We  shall  analyse  a  puitiun  of  liic  grand  senate  to  >bew 
the  grounds  of  the  judgment  wo  have  formed. 

Th«  nhjeot  of  th<  filtt  DUTeiuat  ia  in  D  miiHK  ood  ia  not  ill  cfaoHib 
iMit  M  Um  nd  of  tkt  401 IHU  Uw  BOlbet  ii  onl  of  bmtb,  ana  CKiies 


976 


Kura'i  tosau. 


■  oa  tbe  lubject  a  iecond  time,  only  bj  the  inlroiIneUon  of  panagM 
of  a  dificieni  characlcr.  He  then  modalateg  into  E  minor,  G  majoT, 
and  C  major,  by  wliich  he  is  led  (o  the  liominaDt  of  A  niDOl; 
whereon  he  conslrucls  a  passage  in  4  bars,  connected  with  theotlgtnal 
theme  merelj  by  tlic  actum  iiarunient.  Then  lie  repeats  it  per  dimi- 
niitioncm.  Six  bars  of  ic[n|jliesage  ilill  on  tlie  dominant,  lead  to 
the  Ionic,  ulicri  he  takes  a  melody  of  S  bars  (seemingly  Ruisiao) 
frhich  he  repeats.  He  now^ives  it  twice  to  the  bass,  and  aflera 
coupleofcfoset  in  tbedominaot  eutenintoC  nuusTf  tikere  bei^Hiiii 
briogi  in  the  mAo&y  above  alluded  to,  which  he  carrin  on  with 
iucidcDtal  modublion  lo  a  full  gIdm  in  A  inhior.  Hen  we  heve  t 
brilliant  panage  whiob  beun  &n  indistinct  alluion  to  theabore  mdod/ 
per  dinmtttimemf  and  after  abundance  of  repetitiMU  in  the  tsiae 
hey,  we  meet  with  it  again  in  one  bar  in  F  majn^— when  on  a  nddeo 
he  atlBclis  another  melody  in  3  bars,  and  then  once  more  Ibe  solitary 
bar  which  is  inliodiicud  again  in  G  minor.  After  this,  rarabting  in 
various  keys  nilli  itiJillercnt  succibs,  he  gradually  falls  and  reposes 
on  the  (lominaiil  ol'  D  minor,  un  ^hicb  vilh  the  7Ih  and  9Lh  he 
consUucls  uii  abrupt  codetta,  which  concludes  the  first  part. 

'i'hc  seLUiiii  Lonimcuces  by  repealing  the  codetta  on  tlie  dorainani 
ofG  minor,  in  wNich  liuy  be  resumes  iivs  original  subject  modulaling< 
into  Bb,  which  subsides  inafornalcadeuce.  Here  he  introduce*  a  new 
subject  by  tbe  three  start  note*  of  tbe  urigiiial  theiuc,  incorporatiog 
the4lh  crotchets  at  the  boitom  of  page  1,  which  he  reptMlsiuaereral 
Jusys  with  a  moving  but  unnecessary  bass.  Then,  with  a  feint,  he 
finds  himself  suddenly  inFf  minor,  where  he  again  ri'callsthe«ubjcct, 
treated  as  m  thecummencenientuflheSd  part.  He  now  tuns  ihruujjh 
numerous  keys  until  be  cmuL's  lu  tbe  duiuiiiaiit  of  U  minor,  on  wbiuli 
he  disports  during  13  barsj  alicr  »bich  tbe  suUjuct  appears  again 
Vfilh  all  its  appendages  fur  1:^  bars,  copiud  from  the  beginning  of 
the  movement.  He  continues  lo  spin  niih  lliL'samc  miilerials,  unlil 
he  arrives  at  tbe  passage  tvhich  he  b:id  in  the  liril  parr,  beginning  at 
bar  19,  page  1,  but  in  tbe  Lt-y  ol  U  minor  »hicii  he  carries  on  from 
S7  bars,  leaving  out  two  superfluous  bats  in  one  ptace,and  introducing 
two  that  are  uanecessary  in  another.  Al  ter  ibis  we  bnve  an  unlucky 
passage,  in  bars  fi,  6,  and  7,  page  11,  where  we  meet  with  hidden 
octaves  between  the  treUe  and  middle  part  4  times  repealed.  We 
perceive  likewise  coBMCutive  fiflbi  in  ban  ISand  14  oftbe  same  pag^ 
between  the  lower  E  of  the  Inble  tiling  to  F^,  wliibt  the  but  riiM 


VSATe'i  IQHATAI. 


377 


tiom  A  (o  B.  In  page  JS,  bar*  9  aod  S,  we  have  a  repetition  of 
bidden  octam  a&  bslbn— tben  comes  themelod;  in  3  ban  mentiDntd 
la  tbe  lit  part,  uhlcli  !■  repented  an  oclare  h^her;  the  ]a$t  bar  of 
vbich  iagivenS  time*  more  in aueoding.  Webave  now  aitd|ting 
paisage  in  the  bast,  lotallj  different  frum  an;  pKoeding  one,  which 
brings  tbe  first  morement  to  a  coDclusion. 

Tbe  sonata  has  ivo  other  movementf,  an  andantino,  and  an  alle- 
gro, but  Ibey  contain  notliing  to  lead  us  to  coDlinuc  our  ezaotina- 
tlon. 

The  military  air  we  are  afraid  nill  be  (bonglit  to  parfnite  ofllie 
laJical  defect  of  llie  soiiala — a  want  of  fancy.  Tlie  inlroduclion  is 
forroeil  upon  Ihe  Milijcd,  nhicli  is  in  il  bold  sly\e,  but  apiiiuaciiing  to 
viilgaritj',  particularly  in  llic  clcvciilli  biir.  The  opening  is  perhaps 
(be  most  agreeable  part.  Tbe  variations  arc  in  Ihc  lame  spirited 
manner,  and  hold  a  middle  station  between  originalily  and  common ' 
place.  TbetiiemeisTerf  diitincUjconlinoed  Ihronghout,  andbod 
it  been  more  pleasing  in  ilself,  would  hare  lent  a  Iwaulj  to  the  seve- 
ral paraphrases,  butthere  is  little  of  art  displayed  in  llieir  conslriic- 
lion.  The  interest  of  llie  entire  piece  is  thus  reduced  by  the  tlieme. 
Variations  7,  8,  and  9,  tliougli  probably  placed  in  their  succession 
for  tbe  sake  of  contrast,  do  not  appear  to  us  to  stand  judiciously. 
Numbers  8  and  10  hnve  scarcely  mure  Iban  the  ditTi-rence  of  keys  to 
distinguisb  them.  Tbe  treble  of  numbi:rf>  is  also  ivoiked  into  the 
treble  of  number  10  in  the  second  part.  This  repetition  we  are  ap- 
piehensive  wiU  not  be  taken  aa  a  proof  of  art,  but  as  the  poveit;  of 
imitgi  nation. 

Tbere  ma;  be  occasions  when  we  wish  to  find  tbe  public  judgment 
in  opposition  to  that,  which  having  formed,  it  is  our  duly  to  publish. 
This  is  one  of  those  occasions,  fur  wc  know  not  where  to  look  for  a 
professor  of  sounder  ability  ia  various  departments  of  his  art  than 
Mr.  Nbatb.  Our  dispraise  Is  therefore  extorted  from  os  bythe 
impartiality  which  we  profesi,  and  wbich  makes  it  impoasible  fbr  na 
to  decline  the  notice  of  the  works  of  a  maa  so  eminent  ai  himieir. 
Censnre,  indeed,  never  comet  willingly  from  os. 


A  Btria  efCdeAoAoA  Aitt,  ariMgeg  M  DmU,  fbr  Mo  Pef/brm$ 
mike  I^am  Rrtt;  tyJ.F.Bvmaa.  N6*tlandt.  LondM. 
Oonlding,  D'AImBine,  PMtet  Md  Co. 

It  nill  be  fresh  in  rccclicclion,  because  we  linvc  reasnn  to  believe 
the  publication  hn<>  been  cxtensiTcly  cnquiied  /or,  Ihnt  Mn.  Bus* 
Rotrei  has  lately  engngcil  in  tlic  composition  of  Vnrinlions  upon 
file  principal  Pcolcli  Bon'js,  lo  viJiich  lie  1ms  givpn  Ibc  litle  of 
"  CnU-ih-hn  Airs."  We  b:ive  alran.ly  nnliccil  a  part  of  llip  series, 
Biid  5I1SII  probably  licrcnflcr  review  the  rest.  Insligalcil  bj  ihe  suc- 
cess of  II1JS  work,  Ibc  same  praiific  writer  hnt  now  enlercil  upon  a 
similar  task  In  Ihe  form  of  Diids,  II  is  Tiouerer  imporlanl  la  be 
fcnnnt),  lliat  thcsb  are  not  counlcrparls  of  ihe  Air^,  merely  adapted 
furtwO  jjerrormcli,  but  Ihoiigb  in  one  or  two  slight  porliont  reseni* 
bliitg  the  first  piroducliitti,  ar6  original  comptAftioUs. 

It  b  IVbin  the  ndlnre  df  llic  airs,  and  Ihe  tatrnj  and  brllRaney  of 
tVe  varlalions,  that  these  dacts  will  derive  llieir  repiiiai ion,  kvl fair 
than  from  Any  novelly  orsiruclure,  TIley  are  not  difficult,  (liou^ 
from  Ihi'ir  rnpidily  anil  sprigliMiness  llicj'  are  full  of  efferl,  and  po«- 
srss  con'<i(lcrablc  atlroeliun.  Varinlioni  npoii  known  airs,  In  fbe 
form  of  duels,  ore  not  common— ihosc  of  ihe  present  day  being 
chirfly  mere  arrnngcnlcnta.  Thcae,  tike  the  majorlljr  of  Ur.  BtB- 
BowEs's  lessons,  are  iatcnded  to  be  and  Ih^  ue  popular  and 
pleasing. 


DignizedliyGoogl 


SKETCH  OF  THE  STATE  OF  MUSIC  IN  LONDOlf. 


JUNE,  1821. 

execution  of  one  and  the  aatnc  task,  year  by  year,  to  nbicli 
there  can  be  but  fevr  and  not  very  comiderable  accessions  of  novelty, 
may  naturally  alarm  tlw  mitet  of  such  an  aiticle  as  -na  now  com- 
jnence,  nhen  he  first  addim^  himielf  to  his  labour,  'witli  some  fear 
of  wearying  bis  reader.  We  arc  not  nhhout  this  apprehension,  for 
the  great  malerials  of  our  sabject  may  almost  be  said  to  bo  unvaTy- 
ing.  So  too  are  the  grand  cbaraclerialics.  Srason  aflerseason  the 
same  Tlieatrcs  and  the  same  Conctrt  Itunins  are  opened,  and  nearly 
the  same  contposilions  are  repeatL-d  by  nearly  ttic  same  psrformen. 
With  the  hope  of  conciliating  an  indulgence  that  should  seem  to  be 
indispensable,  we  begin  by  drawing  itttcnlion  (o  Dicse  facts,  for  they 
will  stand  for  an  apology  in  many  cascb,  when  to  some  we  may  seem 
lo  iiave  omitted  objects  of  sufficient  greatness  and  celebrity  to  form 
apart  of  such  an  enuroeration,  whilst  in  others,  this  want  and  desire  of 
novelty  may  excuse  the  introduction  of  topics  which  might  not  ap- 
peal to  deserve  to  well  a'  uparate  r^otice. 

We  ban  already  related  in  oat  lu(  Number,  the  change  in  the 
management  of  the  King'a  Tbeatn.  Hitherto  it  has  been  highly 
successful  in  conciliating  public  fiiTanr.  Not  quite  50  much  to,  we 
t  hint,  in  deserving  it.  Novdty  has  been  sought  bntexcelknec  has  not 
been  found,  whether  it  happens  from  a  deartli  of  talent  or  from  any 
other  cause.  We  suspect  however  an  invisible  iufliicnrp,  for  snre 
we  are  that  the  judgment  of  Mr.  Ayrton'  eould  never  have  spon- 
taneously engaged  some  of  the  performers,  and  we  venture  to  his 
tesone  from  such  a  porlion  of  the  public  censure  as  may  have  fallen 
npon  Ibe  management  on  lliis  account.  Tliere  are  some  Kings  who 
bare  "  Viceroys  over  them,"  and  in  so  serions  and  mponsible  an 
adrantnie  ta  that  of  regenerating  the  Opera  House,  it  is  more  than 
probable  that  a  power  may  bare  been  lent  to  one  part  of  (he  ma- 
chine, impuliire  enongh  ai  to  its  own  prorioce,  but  cottDteracting  in 

TOL.  pi.  DO.  IS.  3  B 


SKETni  OF  MUSIC  IN  LONDON. 


some  mensuic  the  operations  of  otiim.  If  so,  it  h  to  be  lamiented. 
Experience  will  teacli  nil  parties  Hint  such  an  establiiliiiient  can  be 
buppoilcil  at  its  just  and  necessary  elevalioii,  by  enipliiyii^i;  llio  first 
talent  ainl  by  delegating  aiillicirity  tu  the  skilful!  alone.  Any  airangc- 
metit  sliorl  of  this  comprehensive  principle  nill  only  erect  counter- 
Tailing  foiccB,  and  impede  the  yoj-  action  it  ia  meant  to  promote. 
Mb.  Ayai'oh  liai  too  fully  piored  bit  compelencj,  to  allow  the 
error  to  rest  upon  hii  matare  jodgmenl. 

Tbe  petfonners  engaged  are,  first,  SiONoaA  CAiiPOEBtE.  Tbii 
ladjr's  rank  in  acieoce  u  well  known.  Sba.Iuwa  pajxt  genniiw,  fine 
Ilaltan  style,  and  ber  voice  ha^  i^  is  thougbt,  atlaiued.moni  vrfuno 
than.whcn  she  quitted  this  coantry.  Its  tone  howoverwanta,  to  our 
ears,  that  delicacy  and  richness  which  aie  essential  toeKprestion.  It 
is  also  tJelicient  in  compass,  which  frequently  drives  this  great  siagei 
to  the  subhtilution  of  one  passage  fur  another,  and  occasions  her  (o 
produce  her  highest  notes  willi  dillicuUy  ami  some  slight  iniperfcc- 
tion.  But  Iicr  acting  in  characters  of  feeling  is  natural  and  striking, 
and  the  cfmngeful  variation  of  her  coantcnance  more  exquisilcly  e\> 
piGsaivetkan  con  be  imagined.  Uahamb  Camjdrebe  hasexliibiicd 
ihis  power  mtti  singiolat  effyct  in  NiuelUi,  fba  principal  character  in 
Xe  Gataa  Utdm^  (hit  Haion,  vbere  situatioas,  more  interesting 
ikan,  tbe  nituic,  Iibtq  called  into  full  ezertioa,  bar  abilities  as  an 
actress.  UpaalkewholBftheraiiuchuti^  of nBDnaraodft  nativa 
dign^,  which.itamps  npoo  the. aclicra  and  tbe  lingar,  tbe  superiM 
manners  of  the  well  bred  woman,  and  perbapa  no  Prima  Donna  bos 
conciliated  more  respectful  esteem  than  Madame  Cahpobgbe. 

The  next  lady  that  appeared  was  SiQNORAMAniNoNi,  who  came 
□ut  in  the  part  of  Tmcrt^,  '\a  Rosiihi's  opera  of  that  name.  Slie 
bas  a  powciful  contralto  voice,  but  it  is  ill  formed,  and  her  inlona- 
tionispailicularly  defective.  Her  manner  is  exuberantly  florid,  ami 
'her  wbolc  style,  iadeed,  worse  Dian  that  of  any  female  we  erer  recol- 
lect  to  have  ssen  upon  tli«  boar^s.of  the  Opera  Hoo.bs  in  any  da* 
tacter  of Importwce.  Iii,ad>li(laii  to  hernnnt  of^ocal  recommw 
datiopi,  sbe  is  latbei  lamc^  and  lo  account  for  sBob<  a  goU.ui  a  war* 
lior,  we  roust  havo  rcconrse,  to  a  former  wound — a  circumstance 
naliftal  enough,  but  seldom  enumerated  among  the  requisites  which 
the  dramatic  bta»  ideql  of  herojfni  present^.  It  is.  from,  tbe  eleva> 
tiaq  ofsnch  a  suigem  iS^of^ffm  to  ptaca  and  precedency  (p^rtlf 
calarly  while         CoMfit  ramauu.  witkont  uaengagmettl)  (M 


SKETCH  OF  MUSIC  IN  LONBOK. 


381 


veimBg;IiKBiiinflDeacG,af  wliicb  the  public  buaiight  (ocamplabi 
— for  it  ii  quite  iinpouihia  tbat  Mr.  Atrton'*  taalt  stiouhl  valuu- 
.larijjielnit  Bucbasnlulitiitefoi  BsLiocBi. 

Madame  Albeet,  the  principal  singer  at  tbs  great  Opera  of 

Paris,  appcEktcd  fur  a  fcir  nigliU.  The  Frencli  cstct^cm  dranialic  ' 
Escollciici;  bufore  voca!  acquirement,  ami  liunce  il  bappuiis  lliat  the 
gracfs  of  scii^ncf  arc  sacrificed  to  slagc  I'flect,  So  subordiiialeii  state 
of  art  niii=t  necessarily  lead  lu  inferiority,  iind  siiiijeis  of  France 
;tte  uiiquesfioiiably  so  far  below  lliusc  uf  llrily,  i;s  scE.rcc-ly  (o  admit 
n  compiirison.  Majumc  At,di:tii  is  a  li.^t  Hom^m  lor  llie  Opera, 
aflcr  tliu  triple  of  her  iiatiuii ;  Itiat  is  to  nay,  slic  ia  a  Rue  actress 

Tbclivu  sirigcis  hist  nainc^  arp,  bowercr,  rather  (o  he  deemM  m 
temporary  accessions,  than  »s  permanent  addition*  to  the  opeMie 
corps.  Tiie  Teal  slruiigth  of  t1ic  company  hni  been  augmented  bj 
tbe  engageiuent  of  Maoahs  Bohzi  di  Bbgni,  tht  wife  of  M.  Dk 
BEOHTiayoung  man,  but  an  exocllcnt  singer  and  actor.  Ma»A'UX 
lioNzi's  voice  can  scarcely  be  said  to  bcdisiiiigiiiatied  by  any  eminent 
properties.  It  is  superior  neither  in  quality,  volume,  nor  compass; 
indeed  iU  tone  appears  tiiin  and  Us  power  fceblej  in  liiC  vast  space  of 
the  King's  Tiiealre;  the  upper  notes  particularly  display  a  waAt  of 
uniform  principle  in  practice.  Her  style  riiics  icarcely  alwve  tbe 
same  mediocrity,  and  her  arnaments,  though  very  neatly  executed,  arc 
deficieulia  the  creative  fancy,  nbich  is  now  more  than  ever  required 
to  aSect  the  bearer,  already  palled  to  satiny  by  aever  ceasing  rcfieti- 
Uoni  of  tbe  same  florid  {ibraset.  Her  penoa  ii  ent  fion  poiiit,  and  abc 
ia  a  lively  aad  attractive  aottesa.  We  may  gather  from  ber  sdeclioa 
of  ItosiiHrs  "Jl  Twee  in  ItaSa,"  for  Jiei  debal^  that  tbe  contiden 
execution  to  be  her  forte  as  a  singer,*  and  tbe  vivacity  of  inlr^ue,  to 
afford  tbe  happiest  display  of  her  powcis  in  the  dmnulic  dcpartmeot 

SiGNOtt  CusiONi  occupies  tbe  situation  of  first  tenor.  His 
voice  is  well  formed,  rich,  and  swcci,  but  limited  in  compass.  He 
uses  two  ortliree  notes  of  folseltc  with  effect  His  style  ia  Italian— 
flowery,  but  not  overloaded  with  graces,  and  beremindauaof  Viqa' 
HOKit'exci^tthathe  possesses  more  potter.  His  person  b  goodtand 
his  feauuei  bear  an  extraordinary  resemUance  to  aomo  of  the  biub 
Bad  engravings  of  Shakcpeaex,  and  bis  manners  on  tlie  stage  are 
eity  and  geatlemanly^  ratber  than  energetic.  Aa  a  wbok,  be  js.bf^  w 
3o  S 


SKETCH  OF  MUSIC  IN  U»(DOIf. 


Gabgi4,  but  above  aoj  olher  teooi  vho  bat  appeared  at  tbc  opcia 
•ince  Crivblli.  - 

810NOB  Paolo  db  Villb  iiab!is«,wlio  tabs  the  BerEonscharac- 
ten.  Hia  voice  is  hanh  and  ill  formed,  coining  from  a  round  month, 
and  his  intonation  U  often  very  imperfect.  He  c»n  indeed  execute 
even  the  impracticable  basses  of  Rossini,  biit  seldom  willi  any  oUipr 
effect  than  raerely  demon  strati  ng  lliat  Lcilocs  pass  through  Kic  rotes, 
which  probably  istlio  consequence  of  his  roiigli  nnd  loiiekss  organ. 

M.  De  Begni  is  a  imltb  caricalo.  His  voite  is  fine  and  powcrfui, 
resembling  in  tone  (though  not  in  fullness)  the  ptodigious  biiss  of 
ANGR19ANI,  and  his  manner  is  chaste  and  excellent.  He  appears  to 
bea  jouDg  manofgreat  promise,  and  can  bardlj'  fail,  if  lie  pursues  a 
steady  coarse  of  study,  to  anive  at  gnat  eminence,  both  as  a  singer  i 
and  a  comedian. 

Such  are  the  nawTy  engaged  performers,  wlio,  with  Sicmoba* 
Mori  and  Gattie,  Sibhoes  Ambrooetti,  Angrisani,  Placci, 
&c.  &c.  constitute  the  operatic  corps. 

We  are  perfectly  ready  to  allow  ability  and  vigour  to  the  direc- 
tion, with  some  reservation  perhaps  '-n  the  score  of  an  interior 
cabinet,  ivlilch  must,  we  apprehend,  as  we  have  before  said,  be  in- 
cluded in  our  exannination,  to  account  for  the  appearance  of  such  a 
singer  as  ^ABiKOHi.  But  upon  the  whole  111 c  opera  presents  (if 
ve  onght  to  take  the  present  scasoD  as  a  fair  criterion)  a  demonttra-  | 
tion  of  decliiitDg  art.  We  no  more  perceive  the  grandeur  of  the 
junction  of  music  aad  poetry.  Tbe  new  compoiitions  have  00 
claimi,  except  OR  the  scoic  of  novelty,  to  displace  the  vroiks  of  their 
immediate  predeceuora.  Indeed  Kossiki  la  all  in  all,  and  one 
opera  iron  bis  pen  is  almost  enough  to  shew,  if  not  exhaust  the 
-vivacity  and  resources  ofhis  mind  anil  the  nature  of  his  invention— 
viz,  (he  subEtilullon  of  what  wo  must  call  ornamental  expression,  for 
want  of  a  belter  term,  lively  pieces  of  melody  and  noisy  combina- 
tions of  instrumental  efTecti,  for  the  jusler  though  elder  elements  of 
musical  power.  We  arc  afraid  also,  a  fact  must  be  appended  as  a  j 
corollary,  that  as  composition  de«cends,  csecution  follows.  We  ' 
must  take  it  for  granted,  and  indeed  wc  believe,  that  tho  sup- 
ply of  teal  excellence,  even  in  the  exuberance  of  the  foreign 
market,  is  found  to  be  extremely  short.  There  are  no  very  extra- 
ordinary  nngen  in  any  of  the  Theatres  of  tbe  Continent;  for  tbe 
fBiXlf  great  style  of  singing  has  almoat  ceased  to  exist.  Yet  the 

i 

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SKETCH  OP  MDSIC  IH  LONDOK. 


S83 


genius  of  Madame  CAUFoaBse  would  we  llitiik  bave  directed  her 
to  prefer  the  legitimate  to  the  ipurious  attributes  of  expression,  to 
vbich  the  fashion  of  (be  day  in  a  measure  compels  her  to  resort. 
Had  Uer  voice  been  finer,  vre  have  lately  beaid  no  singer  who 
would  have  lo  nearly  taucbed  the  loftier  pawions  and  the  tender 
affeetioni.  Bat  the  age  of  expression  is  gone!— and  that  of  tinsel 
execution  has  folloned  that  time  wfien  the  heart,  not  the  ear,  vas  the 
touchstone — w lien  sentiment  stood  superior  (o  surprize — when  poner, 
henuly,  anddelicacy,;iilministcrc(!  to  plensures  as  inlensp,  (ml  not  so 
light  nor  so  voluptuous  as  (linsc  of  (he  present  liour.  It  Is  gone!  it 
is  gone !  and  wesiinii  not  again  listen  to  genuine  expression, addressed 
lo  tlic  excitement  of  high  anil  pure  emolions,  tili  n  composer,  who 
can  unite  dignity  and  strength  with  melody,  and  a  singer,  who  can 
command  by  pure  tone,  swelling  or  softening  by  turns  our  natural 
feelings  into  cbaracteristic  rapture,  shall  happily  arise. 

The  two  great  English  Tbeatics,  Cavent  Garden  and  Drury  Lane, 
Appear  to  take  a  different  if  not  an  opposite  coarse  In  mnsic.  Botli 
honever  seem  to  tmst  less  lo  entire  novelty  than  formerly.  Covent 
Garden  indeed,  where  Mr.  Bishop  still  worthily  presides  (for  he  is 
decidedly  the  first,  if  we  nay  not  absolutely  call  liim  the  only  com- 
poser of  operas,)  exhibits  continually  something  new.  Of  late  how* 
ever,  as  we  hare  remarked  in  our  Reviews  of  the  later  productions, 
music  has  been  adapted  to  plays,  and  choice  old  pieces  re-produced 
and  partially  adorned  with  flowers  from  Mr.  Bishop,  as  substitutes 
for  what  hare  hitherto  been  atiled  English  Operas.  Miss  Ste- 
phens still  sustains  her  eminence.  Miss  M.  TnEB  has  for  some  rea- 
son (principally  induposition  we  bcliere)  disappeared,  and  a  Miss 
Hai>lahdb  has  bsen  brought  forward.  This  young  lady  has  a 
wonderful  voice  in  point  of  power  and  quality  and  flexibility  united. 
It  consists  however  of  the  two  separate  spedes  more'  distinctly 
than  we  ever  before  remember  in  a  female. — The  roce  di  pello 
(or  voice  from  the  chest)  is  a  contralto,  singularly  rich  and  full 
in  tone,  and  its  compass  seems  to  be  from  A  to  C,  or  about  ten 
notes.  It  is  scarcely  pure,  for  her  portamento  (wo  use  this  word  in 
its  legitimate  sense  for  the  production  of  pure  tone)  has  not  been 
originally  regulated  with  sufficient  care.  The  tone  tlicrcfure  par- 
takes a  It'ufe  of  the  throat— a  fault  which  even  now  a  good  and  atlen* 
tive  master  might  correct,  and  which  bdng  removed  would  improve 
IhecIearneaiandbtilliBncy,   To  this  ruce  Hiss  Hjvllakse  can 


Digilizetl  by  Google 


SKETCH  OF  MUSIC  IN  LONDON. 


i^dd  NX  or  seven  higher  nota,  (in  the  race  di  lesia,i3r£a,\soiU)  percepli* 
bl;  diSering  in  qnali^i  but  not  so  violently  u  to  be  ofieDiive.  The 
tiro  might  and  v ould  be  appntximated  in  lUi  reapeot  bf  tbe  corroc- 
tioaofthe  mode  in  which  the  contralto  voice  is  produced.  Uiu 
Hallakdb  can  execute  rapidlj,  but  seldom  with  neatness  or  pre* 
cliion,  anil  Ihercfure  lici  oriianienU  fail  in  their  elTecl.  They  are  at 
bat  coaisely  given,  in  the  st^le  of  the  Theatre,  and  bcr  intonation 
conseqiicully  siiiftTs.  Jiut  ilic  lias  ver^  cxlraordiiiary  natural  en- 
dowmciils,  iiiiit  if  liie  aiTiiiiiilily  [iiiil  s[rejii;lii  of  ficr  intellecliial 
facullits  (llic  knowk'J^'i^  of  nU\ch  U  olisciirfd  by  llie  application  of 
bei  talents  »c  have  hillicrlu  wilnu^d;  be  at  all  equal  to  her  organic 
strength,  it  may  be  safi:ly  pronounced  thai,  under  judicious  intlnic- 
tioDjioduBlry  may  exalt  her  to  thera^  heighti  of  Bcienoe.  But  the 
coune  she  is  noir  pursuing  is  the  one  least  favounble  to  clucical  al> 
tainmenl)  and  even  if  the  Theatre  be  her  destination,  she  might  pro- 
babiy  paai  ber  time  to  more  advantage  in  severe  practice,  oniler  an 
instructor  ofjudgment,  in  bearing  others,  and  in  forming  a  style  for 
herself.  Wc  venture  so  much  of  advice;  for.  we  say  it  with  the 
cordial  sincerity  with  which  our  feelings  and  our  principles  bind  ui 
to  the  interests  of  youth,  adventuring  upon  the  stormy  ocean  of 
public  life,  there  are  few  indeed  who  seem  to  Us  so  liberally  gifted 
by  nature  as  Mi  SI  Hali.ande.* 

Concerning  the  male  vocalists  at  this  Theatre  there  is  little  to  be 
■aid.  M&>  DoBDBBT,  an  nnolfendiog  and  uoimpiesgive  but  tolera- 
bly agreeable  tenor,  u  the  onty  one  who  claimi  the  Bmallest  title  to 
notice.  Indeed  such  a  reduction  of  the  vooal  rttength  of  this  great 
eslabliihment  is  only  an  additional  proof  of  that  dearth  of  taknt 
which  wc  shall  presently  have  further  occns ion  lo  remark. 

The  pages  we  devoted  in  our  list  Number  to  "  the  revival  of  Ar- 
taxerjtes  at  Drury-Iane"  have  aiilicipated  much  of  what  ire  ini«ht 
have  had  lo  say  concerning  the  slate  of  music  at  Ihit  hnu^e.  The 
appearance,  promise,  and  first  successes  of  Miss  Wilson  have  ren- 
dered tlie  Drury-Iane  season  more  decidedly  operatic  than  it  would 
oliicrwise  probably  have  been ;  and  it  is  a  proof  of  the  cliarms  which 
novelty  has  for  the  public,  that  she  shoiild  have  formed  the  central 
light  ruiind  whicli  even  greater  planets  have  moved.  To  her  it  is 
probably  owing,  that  the  powers  of-  Mb.  BBAiiAU  and  Ma.  Hoax, 

•  Wslament  to  hear  tha^  nnce  tUs  wu  written,  Mtss  HuxAmn  ho 
.tooken  a  bkwd  vesMl. 


«uniR  op  mm  u  umoWi  SSi 
Ua&ahb  Tbstbu  and  Mibi  Fvvbt,  hm  been  oonceitlntted  iato 
OM  foOUB  of  atlnictioD, 

Uui  Wilson's  merits  we  Iiave  already  JIscubesJ,  and  ire  han 
reason  to  know  lliat  (be  great  body  of  llie  public  acknowledges  and 
the  majurity  of  tlic  professbn  is  grateful  for  oui  exposition  of  tlie 
ttulb.  Madaux  Vbstris,  welliiiik,  has  beea  generally  uverrrulcd  -. 
ber  aatural  gills  are  not  cxlraoiclinary;  her  acquirements  in  art  have 
notbing  to  distinguish  Ibem  above  llie  eomnion.  But  her  success 
affords  a  tacit  sjmptom.  of  returning  (asle.  Masaue  Vesiris  hu 
boen^xlolled  cbieA;  &>c  the  absence  of  (hose  quallGcaltons  for  which 
ber  associate,  Miu  Wilson,  im  btm  so  axlraTogantlj'  flattemL 
Her  milder  ipflucBce  l|as  bean  felt  Ibe  more  slrooglji  from  tlui  ooatrMt 
her  plainer  in(uiaer.exbibils  (o  IftiH.W,  nod  toMs.  Bubam.  Sd 
far  it  is  good.  But  Madams  Vbstbji  is  iiot  a  aii^r  of  tbs  first 
rank — scarcely  perhaps  of  the  second.  Voice,  intoDation,  and  eze- 
cnlion  ate  all  imperfect;  yet  still  the  simplicity  of  her  style  bosgaio' 
ed  ber  great  fkvonr  with  the  public  at  large. 

Of  Miss  Pover's  modest  but  superior  merits  nre  shall,  venture  lo 
speak  in  a  different  strain.  Her  natural  organ  is  Sue,  powerful,  and 
considerable,  and  she  is  prpceeding  soberly  and  by  just  degrees  to  ex- 
cellence. Her  tone  is  pure,  rich,  and  meet  in  its  qnalitj,  and  with 
as  much  brillinncy  as  oonsiale  with  the  iidlDeu<  Her  oorapnw  u 
extensive,  and  tlie  notes  ate  eqatdrond'^ka  throfl^ioul— ihiu  piov 
ing  the  judgment  witb  witich  bet  vgioa  bw  boen  formed.  Its  TolnmB 
U  afag]fi,  and  sufflcisnt  tq  fiUi'ibe<BpBcious.Tiiiii  oi  Drufy*biia.  Her 
mamieru.l^iawlel/.EngUshi— plain  and  cbasle,  bat  yet  notnillioat 
4s  mncb  of  oinqewit  as  may  uem^lo  shew  how  capable  she  is  of 
doing  more,  nere  it.  not  that  she  is  wisely  conl cm  to  do  enough. 
How  far  her  iroagination  ranges,  or  how  deeply  iinbiit'd  licr  mind 
may  be  with  the  poetry  of  art,  a  subordinalc  sdition  in  tlic  tiientro 
forbids  her  to  ditclose,  and  Ibc  dilUcidly  of  finding  admission  to 
the  concert>orcbeslras  of  llio  melropulis,  now  occnpiud  by  llie  cnm- 
peteat  abilities  of  eslablished  fnvonrilcs,  seems  bilberlo  lo  have 
opposed  aa  obslade  to  Miss  Povev's  nppearancn  in  the  titualiun 
ntWtfajrotnitUB.tO'the display  of  tlie  inlcileclual  nllributes  ot  voeol 
science.  We  abould  however  be  Induced  1o  augiir  ranch  from  tbe 
steadinegn  with  which  this  young  singer  appears  to  haveresisled  the 
allwements  and  the  depravation  of>  the  prulice  of  th»  stag? ;  r« 
im  nuunei  iHOiks  itadioady  freed  ftom  coanmess  aod-fiain  gandy 


586 


■KBKB  or  mntc  a  ukdoit. 


glare,  notwitbitandiiig  Ihe  laite  of  the  public,. ia  it*  daUga  Bad 

decline,  should  Ecem  to  lavish  iU  applause*  upon  (hoie  only  vrho 
are  EOlisfied  to  mioistct  to  the  appetite  tbej  liave  weakened  and 
vulgarized. 

Concerning  the  men,  we  have  little  newlooffcr.  M%.  Bbahak  it 
verging  faet  towBtds  neglect,  without  being  aware  of  it.  But  we  are 
prompted  to  assure  him,  not  alone  bj  Ihe  suggestions  of  wliat  we 
know  to  be  sound  judgment,  but  by  those  general  sentiments  which 
il  is  his  misfortune  to  be  the  only  person  not  to  hear  became  he  is 
the  person  principally  concerned,  that  his  reputation  b  Sai  de> 
parting  from  him,  and  he  will  but  loo  probably  cantiana  Ihe  Gftner 
of  his  iafatuation,  to  Us  open  and  violent  extiuctioa.  It  is  onr  first 
wish, to  aectue  the  public  laale  from  Uie  conupting  iofiuence  of  ihe 
example  of  bis  lacnlties  in  their  prostitution  and  decay.  It  is  onr 
second  hope  to  spare  a  man  who  has  possessed  so  many  claims  to  ad- 
miration, from  the  morlilicalioti  be  can  but  feel  at  out-slaying  the 
period  which  nature -assigns,  even  to  powers  so  vast  and  so  eminent 
Bs  his  own.  We  have  been  present  at  places  of  public  amusemeut 
WLlliin  Ibc  last  few  (lays,  wlicrt  liii  Hili;  )ia.s  irtnibli;!]  in  the  balance, 
and  nbcre,  but  for  ILt  respecl  lliiii  »iuU  u\m\\  lung  service  and  iem- 
pers  indignation,  he  would  have  heard  titc  hiss  of  degradation  ring  in 
bb  ean,  and  have  tfaaddered  underiliconvubingeffiob.  Sach  was 
pailicutarlythacaseat  the  beoaGt  concert  of theHisiMCoxRi,  where 
Hb.Brabaii,  in  ^  Tke  bewildered  Maid"  did  all  that  man  eeald  do 
to  coTrnpt  the  tatte,  insult  the  vndeTslnnding  of  kb  aadienoe,  and 
to  lower  hu  own  estimation.  We  say  wUbcrat  the  uoallost  heaita- 
lion,  that  of  all  tbe  performances  we  ever  wifaieased,  Ihb  wai  by  fin 
the  most  disgraceful ;  and  Mr.  Brahah  may  depend  opon  the  ac- 
curacy of  our  observations  upon  his  hearers  when  we  lell  him,  that 
the  public  expression  of  almost  general  contempt  was  wppressed, 
by  regard  to  long  service  alone.  But  this  reslraint  wiU  soon  cense  to 
operate,  when  opposed  as  it  is  by  tbc  strongest  seme  of  whatb  doe  (o 
science,  as  well  as  to  the  feeling  of  tlie  outrage  oKred  to  individual 
judgment,  by  such  a  prostitution  of  powers,  in  themselves  so  noble. 
Again  we  warn  him  to  limit  and  restrain  his  extravagance,*  to  consult 

•  The  dcliy  of  onr  pnbli  cation  has  allowed  us  to  hear  Ma.  BkAHAu  ray  re- 
cently in  Hush's  most  beautiful  Canzoaetf,  The  Seaum  eomei,"  >tHL 
Wulet's  Concert.  We  fesr  f&aa  this  lutiproof  tHat  hEi  powers  are  gone. 
Beddet  a  general  vitbfion  &<nn  the  pitch,  which  be  scarcely  recovered  tofag 


sKi?rai  OF  MUSIC  in  lonoon.  387 

bis  belter  juilgmeDtjOrrctireatonceftompiiblicIire.  Wcbecomc,as 
he  inust  well  knov,  to  a  consitlerable  «tent,  the  depmilories  of  pro- 
ftnioiiBl  at  veil  as  pabtic  opinion.  We  have  alffajs  given  tlie 
*'  faononrdue"  to  hisqunliliea,  and  vrc  nowilesiie  ontj'  that  a  man  so 
eminent  ahonld  enjoy  dial  llonnr,  nitliout  sufTcring  the  personal  mor< 
liBcation  that  can  but  cnlcr  like  iron  into  his  soul,  should  he  be 
cxpoaed  to  hear  (lie  comments  which  have  rurmed,  (ogcthcr  ivi(h  our 
own  perception  ofhis  fiist-Jcciijiiig  pollers— the  ground  ofthis,  he 
may  frtisl  111,  n!i  more  lliriri  liiiidy  as  Woll  as  frienilly  iiilraonition, 

Hn.  lloiiN-  is  of  :\ti..  Dii.vuah's  scliuol.  The  rccomnit-inlalions 
he  possesses  incline  us  more  to  wish  he  were  not  so,  and  at  the  same 
time  to  hope  that  it  is  not  too  late  to  retrace  some  of  hia  slcpa  and 
to  return  toward*  t^e  domaiti  of  nataral  expression,  from  frfaence  be 
has  itrajed  almost  at  far  ai  hii  prototype.  It  {■  the  misfortune  of 
Imilalon  to  tatcli  the  prambent,  irfaicll  are  gmerally  ibe  vront 
fbatnrei  of  the  model. 

The  CoaoBBt  or  Axtisnt  Hnstc  conlinuei  as  its  principle 
cerlilics,  immutable  in  the  demonstration  of  those  soblimc  traits  of 
art,  wTiich  it  is  in  purpose  to  perpetuate.  At  present  it  maintains  all 
ill  dignities  and  immunities  in  spite  of  the  desire  ofchange  so  inherent 
inour  nalaro  and  in  spite  of  (he  mutations  of  fashion — in  spile  too  of 
that  cztieroe(ii8(idiousne.ss  of  pride  and  (Iiat  prominent  desire  of  priTi> 
tedged  excess  v&ich  now  begins  to  whisper,  that  "  really  good  ronsio 
can  only  be  heard  fn  cntain  private  and  very  esalted  circles."'  The 
Stitttog  circnmriRnce  of  the  Concert  this  year  has  been  the  engage- 
ment of  Had  am  b  CAHroKBSB, UKB.SAtMoii, Hiss Stbfkbns,  and 
MiA  Travis — a  preponderance  of  sopranos  rarely  if  ever  before 
known,  and  affording  as  perfect  and  as  distinct  examples  of  style 
as  were  ever  found  in  one  orchestra. 

Thb  Vocai.  CoNceaTs  have  been  reduced  in  number  to  six, 
sod  these,  thongh  supported  by  all  the  finest  talent,  were  scarcely 
so  well  attended  as  was  the  series  of  former  years,  preceding  per- 
haps (he  seasotf  of  1880,  which  fell  off  even  in  a  more  considerable 
degree. 

the  whole  SnC  tene,  the  lone  was  nerer  for  two  bais.alike — the  wwdi  werq 
prefaced  liy  all  iorti  of  noises  in  the  nose,  throat,  and  mouth,  ani  tiis  power 
Di  cqaaUs  aioglDg  wu  no  more.  He  fotbore  fata  niing  modi  onumenl,  bat 
the  solid  parts  of  Us  stfte  were,  thus  eipsKd,  awl  tie  total  decay  w  Mmvfiaii 
were  bat  the  mote  vUble. 

ToL.  III.  ma.  XI.  3  k 


388 


UCBHB  or  MOIO  IK  UWDOII. 


T«B  PuiLHABiioMiv  SooiKTT  bu  tbu  Muon  flonriibed  witb  ex- 
tiaotdioaiy  vigour,  Mid  the  resident  membere  bave  been  supported  bj 
tbe  acceision  of  the  richest  examples  of  foreign  talent,  in  the  personi 
efMR.  KiBiEWETTBR,  tbe  violinist,  Mr.  Moschelei,  a  player  on 
Ibe  piano  forlc,  and  U.  TdIiOD,  a  flute  plnjrr — piofesfort  itho  itave 
eBnicdtliehigbeat  poaBible  repatdl  ion  abroad.  Our  former  pages  will 
spare  us  Ibe  necessity  orenlargingnponlbequatificBtionsorihe  fbmiec 
gcntlentan  i  they  will  be  found  to  Ik  described  in  the  conjoint  menmr 

ofMEIS&B.Moni,SpailR,anJKlE5E>TETI8R.  UfMB.UotCHBLCi 
it  imports  tbe  art  that  we  should  speak  as  mucb  at  Icngtb  as  pouible, 
for  he  ii,  without  question,  equal  in  all,  and  superior  in  mwt  painty 
lo  alt  hii  ptedecetton. 

Hb.  H.  ii  about  Imntf- nins  jeart  of  age,  nilh  B'comiteiiaiica 
ringnlar,  bat  expressive,  and  distingoisbed  by  strong  aensibillly  and 
iateltigence.  Some  of  his  composilioni  bad  been  known  in  Eng- 
land, and  had  prepared  the  critical  class  of  musicians  at  least, 
(together  nith  his  fame)  for  his  reception,  which,  both  privately 
amongst  the  eminent  of  the  profession,  and  publicly  when  he  entered 
the  orchestra  of  the  Philharmonic  on  the  last  night  of  (be  season,  was 
marked  with  tiie  most  decided  tokens  of  reaped,  distinction,  and 
applause — tbe  most  expressive  of  which  pechapt  was  the  silence, 
nobniken  even  by  a  breath,  that  waited  upon  bu  perfarmance.  He 
played  a  concerto  of  bU  own  omnpodlton)  In  £  flat ;  the  anlgrct  wat 
singolar,  being  introduced  by  three  drums ;  afterwards  strengthened 
by  the  basses,  and  (ben  taken  up  by  tbe  whole  orchestra.  Some 
agreeable  passages,  ably  constructed  fur  effect,  are  next  introduced, 
that  naturally  conduct  to  tbe  first  solo,  which  is  contrived  wiih 
iDcb  ingenuity  as  lo  enable  the  player  lo  display  all  the  great  quali- 
fications which  constitute  a  finished  performer  of  the  first  class.  In 
the  second  solo,  ai^er  treating  the  subject  very  gracefully,  he  inlro- 
dacea  an  epi«ode  by  way  of  contrast,  which  is  not  only  extrcRKly 
beautifnl  in  Itself,  but  replete  witb  passages  calculated  to  demonstrata 
hit  wonderTal  powers  of  execution  to  the  highest  advantage. 

The  audience  seised  ctery  opportunity  during  Ibis  performance  of 
manilesting  tbe  delight  tbej  fdt  by  repeated  Brtnu  I  and  by  every 
other  means  which  could  convey  diMfngalslml  approbation 
to  which  tbey  felt  Un.  Haioaiu»  to  be  in  juallj  entilllEd. 

The  adagio  was  in  Bb,  In  f  time,  and  written  In  m  ityk  oont*- 
poBdiDgwdlwiththechancterof  (befintnumiiMDl.  Tbe'irio%af 


IKETCH  OF  MUSIC  IN  LOHDOll. 


bmafaiiy  gmeetal,  and  gave  ample  tcopc  fbr  IbeMtlior'sdiipUy  ot 
-  all  tbe  difflcultin  and  bcaaties  ofthe  thake,  sad  Iha  rapid  and  di»- 
tinrt  exeantioii  of  odATCt.  PaawgM  of  «ngiikr  conitniotlaa,  fbr 
both  hendi,  vfiioh  kept  Ute  tfaoiob  and  forEfiogsr  of  «aob  employed 
in  the  (hake,  wliiUt  (be  oilier  Angers  are  busilj  occupied  in  accom- 
paoimeats,  lisd  a  vrry  striliiiig  anil  unusual  efiect.  In  tbe  Irgatn 
passage*  lie  also  sliewcil  great  mailery  over  the  inatnimeot}  and  ibe 
progress  of  Ibe  petformaoce  still  mat  on  angmenting  tbe  applause  of 
the  audience. 

Instead  of  the  rondo  oiiginally  written  for  Ibe  ooDcerio,  Hb.  M. 
sobstituled  an  afi  wUb  vniationt,  wbiob  it  pnUisbed,  and  tfhicb  we 
IWTe  iMa.  Tbe  tbema  is  well  known  on  tbe  Continent  the  »me 
of  Tie  Emperor  AUmOa'i  fatxmrUe  March,  bat  It  so  nearl;  ic 
temblei  tbe  one  known'  ben  by  tbe  name  of  "  Tie  /UI  ofParii" 
.(bat  it  any  be  onniideied  u  tbe  same.  As  these  varinlions  bara 
already  been  freqnenUy  idajred  by  Hb.  AfoscHBLEs  at  concerts  on 
tbe  CmlinOnt,  thqr  have  obtained  agood  dealof  ce1ebritj,bat  their 
difficulties  are  so  great,  that  they  are  not  very  likely  to  make  Iheit 
way  mucb  into  prirate  society.  The  march  ii  in  tlie  key  of  F :  the 
first  variation  gives  the  performer  full  opi^ortunity  of  exhibiting  bis 
■kill  in  the  erecation  of  triplets:  tbcsccond  isasort  of  seberEando, 
with  nn  accompaoioieirt  of  wind  instruments,  which  has  an  wiginnl 
and  pleating  effi»t.  In  the  third,  the  difficulties  of  ezeention  ara 
divided  alleniatdr  between  the  right  and  left  band,  and  tbe  eAct 
produced  by  lbs  rigbt  band  on  tbe  theme,  wbiU  tb«  left  is  nwdng 
K  rapid  piasago  of  Hmitonea,  is  very  ftrifcing.  Tim  fbmlh  Taiialioa 
is  nbravnrn,  and  more  diffietilt  Iban  any  of  tbe  others;  A  pauage 
of  danble  triplets,  in  very  rapid  movement,  is  kept  up  by  the  right 
band,  whilst  Ihrlefl  ii  occnpied  with  the  theme;  but  during  tliis  (lie 
baixls  arc  conslanUy  crossing  each  other  in  so  curious  a  miinncr  lliat 
it  is  extremely  difficult  to  ilistingnish  ifbich  hand  19  employed  above 
and  wbicb  below.  Tbe  6Rh  variation  is  intended  to  Ehow  legerity  of 
finger ;  the  subject  being  heard  by  distinct  touches  in  the  midst  of  a 
rapid  snccewitmof  iioles.  Tbe  sixth  variation  is  an  adagio,  in  Ibe 
.  Minor  toy,  with  naadcMnpaniraent  of  wind  instmments,  and  dbplays 
■tile  pw»w  of  tbe  perfonner  in  the  l^loa^la  wyBdvant^eaariy; 
tbe  FMSftiet  of  (eathi  akew  Ibat  tbe  ^ysioal  Gonstmotion  itf  Ux. 
' MaicBBj^Ba'i  bandit  audi ai  to  lewto  ordinary  difficulties  mew 
annMMBBti  to  Wi. 

St  t 


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Tbe  flnale,  which  u  not  namberad  u  a  vtriolioe,  b  na  all^ni  af 
great  ipiiU  and  effect.  Tlic  theme  ie  carried  on  with  both  bands  by 
ikips  of  great  itistBuce  and  hazard,  but  nhicb  tlie  pcrfonnn  strike* 
with  the  same  certainly  as  i(  Ihcj  lay  within  Ibc  natQml  grasp  of  Ibc 
band.  The  author  ihtn  iiorta  on  iiilh  increasing  vigoui  totlie  con- 
cision, ivliith  111!  airivts  al  mOi  liie  iilmosi  briliiuncy  and  effect. 

We  liavt  i-nliirgfil  upon  Ihc  iialiire  of  llie  eomposilion  in  order  to 
convey  mure  adequalelj-  an  idea  uf  Mr.  Mdschelbs's  powers  of 
execution,  of  which  we  cannot  speak  too  much  oi  too  fai^y •  IIm 
public  fnllj  estimated  hu  eKtraordinarf  tdcnti  foe  a  son  apontft- 
neouB  or  more  liberal  tribute-  of  applause  we  iicveM«oatleA  to  have 
seen  bestowed  upon  any  public  iierfotnier  tlinn  Mb.  M.  received- 
Ma.  MciscHCLEs's  cuininanU  uf  the  instrument  is  truly  astonish- 
ing, ivliether  considered  in  relation  to  force,  delicacy,  at  rapidity. 
As  CATiLi^AK  I  in  vocal  art,  hurils  through  all  tlie  fetters  commonly 
impnsed,  so  Mr.  M.  nji[)ciirs  to  disdain  (because  he  is  tlioTOuglilj 
acquainted  with)  tecliiiic:U  t\A-s.  Uii  ^\rkt,  his  hand,  and  the  joints 
of  his  fingere,  exhibit  a  variuly  of  position  and  a  pliability  truly  won- 
dcifol ;  yet  so  nicely  does  ho  controul  his  touch,  that  when  from  Ibe 
elevation  of  his  hand  the  spectator  might  expect  its  descent  in  thaih 
der,  as  it  ncre,  the  ear  is  never  shocked  by  the  slightest  banhaett : 
(here  is  loo  a  spring  and  elasUdty  io  bis  fiagws,  when  applied  to 
quick  arpeggio  passsgei,  (bat  bring  oat  (he  matt  brilUaat  fames  hIoIb 
in  (hoae  ton^tag  moremenls  (hatconslitnle  gannallj  whatblemed 
ezpiaasi<Hij*  hb  manner  is  not  less  afleciing.  But  the  mart  extia- 
onlinary  put  of  Mn.  M.'s  playing  is  perhaps  the  vebKaty  aod  (be 
certainly  with  which  he  passes  from  one  distant  interval  to  another. 
ll'u  thumbs sei-m  Io  act  ns  inlenncdinlc  |ioin(s  from  which  his  Gngert 
are  directed  almost  to  the  must  roiuole  parts  of  the  inslrumenl,  over 
which  they  Hy  with  a  tnpidiiy  ulioHj  irn-onccivable;  jct  the  unifor- 
mity of  touch  nnd  lone  nrc  su  strictly  preserved,  that  an  imperfect  is 
never  and  an  nnfinished'  note  seldom  heard.  Every  great  player 
has  his  forle;  and  in  this  species  of  eieoiiion  Ha.  UoscasLBi  u 
anrivailed.  We  Ihink,  too,  that  in  genuine  force  be  has  never  been 
equalled.  Concerning  liis  eipre-.sioii,  Mn.  J.  Cbambb,  wc  arc  loldj 
publicly  paid  him  the  highest  compliments ;  yet  wc  know  persons  of 

•  It  is  curious  that  in  piano  foilc  playing  this  term  is  almost  constantly  con- 
fined to  the  trader  and  pathetic  parla  of  the  parforraance  j  while  to  the  boWer 
sSecllona,  tho  word  excGolioii  is  goneiBlly  ^i^lied-' 


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Bum  Off  MDMB  W  UMDOK  391 

great  judgmcBt  itbo  attiauKe  his  potrw  ia  lbjabrasoh  «f  art  nt  a 
luwei  tate.  Bui  we  ue  di^tued  to  Uiiidt  Ibb  ari*n  rallur  fkiom  tbe 
great  laperioiilj  of  bii  otfan  didsit  to  pfo-emiBenw,  fmn  a  comp^ 
tImhi  of  tbe  one  part  vUh  tbe  other,  tlinn  bota  an;  posHiTe  foiling 
off.  Ill  such  a  man  the  very  grandeur  of  one  facultj  is  sometimes 
the  cause  of  the  disparngcment  of  another.  As  a  rvhole,  however, 
Mr.  MoBOHCLes  is  uniTcrtnlly  alloned  the  Buprcmncy,  nnil  it  is 
also  as  umTcrsallj'  admitled,  tliat  hb  talents  arc  accompanied  by  a 

At  llie  lliird  and  fiiih  eoncfrls  appcnn-d  M.  Tuloo,  a  Rule  plnjer 
and  the  idol  of  Paris,  from  nhenre  he  comi-s.  His  siiircrai,  how- 
aver,  has  DCilbeenwgraatiB  (biidaunlrj.  Compared  wHhNianoL- 
aoK,  biatoneislhin,  and  hifezeonfitm  noalMid  ilcUcate  nther  than 
oomnmnding.  M.  Tdlod  Itamanof  llve1)'ieiuibiUl7,*andlboligh 
of  great  mpril,  has  not  (we  fear)  attained  nil  he  miglit  have  been  led 
to  hope,  hy  (lie  ravuuriliiirn  into  which  he  had  risen  In  Ilie  French 
metropolis. 

At  the*c  Concerts  Ma.  KELbNEn  was  engaged.  Mn.  K.  was 
formerly  well  known  as  a  treble  singer,  and  had  jiivt  nppeurL'd  an  a 
baiB  previously  to  his  leaving  Enghind  lo  htiiily  in  ilaly.  The  great 
promise  which  Mil.  Kei.i.ke:r's  voice  gave  at  Ihe  commenremenl  of 
bis  profeuianal  career  we  fear  we  miigt  %ay  bat  not  been  fulfilled.—- 
Wliclbet  the  change  has  been  eSiwted  by  iiatnre  w  injadicioiu  prac- 
tice we  know  not;  but  tbe  riob  lower  lonei  have  passed  away,  and 
its  exiension  upwards  has  by  no  means  compcnsa(<\l  for  ihe  loss.  In 
fact  he  has  no  longer  a  boss  voice;  nor,  from  ihe  specimens  we  hare 
bcnid,caa  we  speak  in  very  high  praise  of  the  progress  he  has  made 
in  style  or  expression  during  his  residence  in  Italy.  At  the  fiflh 
Fliilharmonic  CuaterL  he  biiiigpAEB's  song,  "  Se  fur  sogno  i  miet 
tormenii,"  but  niili  lillli^of  the  characteristic  marking  which  the 
author  intended,  or  which  Jnsl  feeling  and  good  taste  would  dictate. 
This  wAg  is  perhaps  the  mostdeliciite  and  beautiful  in  its  transi' 
tienS'ttf  any  modeoi  composition  for  a  bius ;  and  at  the  same  lime 
that  it  rcqnirea  vast  compass  (ascending  (o  G),  volume,  tone,  and 
facility,  it  also  demands  u  ponei  over  the  elements  of  expression  per- 

•  Tlie  authors  of  the  Dktiomuure  Ilistorique  des  Murioem  give  Ihe  foltow- 
iug  as  llic  answer  (o  their  application  to  M.  TcLOU  for  [he  memaraada  of  hii 
lifie  Hid  works: — "Je  mm  mie  imIammtiU  de  m'  extlure  de  wtrt  laikaa,  ear 


HROi  or  KMIO  IK  UWDOK. 

tetily  dnuwUiCi  It  i*  from  Paik'i  Agneie,  wni  b  the  recitriiie 

end  ail  in  wbicb  the  fiUber  (m  bis  hBllacinalion)  imagines  the  pr^ 
■ence  of  his  daughter,  whose  lots  ha*  occaaioned  bis  disorder  of 
mind.  Tlie  composition,  whrtber  consideied  with  regard  to  modu- 
lalion,  execution,  or  expression,  is  alike  difficult.  No  singer  could 
bend  his  powers  to  a  lofliet  liuk.  In  Mit.  Kblchbr's  perfonnance 
a  monatunoiiB  insensibility  seemed  to  reign,  unrelievrd  even  by  Ihose 
touches  which  linowledgB  withont  sentiroent  smnetimes  supplies. 
Passioa  there  was  none ;  nor  can  it  be  eauly  intagiiud  how  a  prt>- 
tenoi  ia  tha  prine  of  liG^  s  daily  witnng  of  the  cause  of  paUic 
■■Keen  in  otbersi  Bnil  with  the  iottradion  which  we  neeuMiilj 
oondude  be  has  recetTcd  from  the  wry  MMroe  of  vocal  cxcdlenc^ 
'  Goald  mSbr  biniidf  to  fUI  Into  a  manner  n  opposed  lo  that  whiA 
can  alone  raise  a  vocalist  Into  eminence.  Wthout  some  dedded  and 
mnrhed  character,  a  man  mnst  always  become  one  ofthemuUilnde; — 
sentiment— passion- — dignity — Tivaeity— wilhont  some  of  these, 
mnsic  is  mere  sonnd,  signifying  nothing;  nor  will  an  indiffirrent  por- 
tion of  all  raise  a  nan  into  celebrity,  althoagh  a  strong  fnct  for 
rither  has  that  attraction  which  will  draw  him  out  of  the  undistin- 
guished  mass  into  public  reganl.  We  should  adviic  Mn.  K.  seri- 
ously to  study  these  essential  quBli6cationa,  fur  bis  technical  know- 
ledge is  nnqnettlonable.  He  wants  the  poetry  of  his  ul^he  want 
most  dangeront  lo  «  baiti  whose  naturally  heavy  lone>  rtqoira  more 
than  any  other  species  of  voice,  the  charm  of  passion  and  aniraafioa. 

Of  the  CiTT  AxATBDR  CoNOBSTB  wc  have  recently  spoken  so 
much  at  large,  that  we  need  only  refer  lo  an  art  icie  at  page  65  of  our 
third  volume,  and  add,  that  tliey  this  season  manifested  incrensrd 
spirit-  No  concert  in  London  has  been  more  judiciously  conductedi 
or  erhibiled  more  variety  and  more  excellence. 

The  oratorios  hare,  during  this  entire  season,  been  sustained  with 
nncommon  vigor,  by  Sir  Gbobqe  Smart  and  Mn.  Bishop,  the 
CondQclon.  The  compciilloB  at  fint  lay  ui  a  cnriom  ccHilest  foi 
the  same  tpedes  of  novelty— a  concantntion  of  liaipa — Hb.  Bi> 
■Rop  employing  no  less  than  tutive,  with  Un.  DiKi  Kt  the  bead. 
Sir  Giorob  Shabt  thirteen  irftlitM  iutrnmentB.  W«  bavesoae 
reason  to  think  (he  idea  originated  at  Drnij-Jaiw  with  Sik  Geo»OK 
and  Mn.  Bochia.  Mr.  Bishop  bowevet  took  the  lead,  be  having 
the  firtt  night.  Bol  »  mm  mttnm  Imilat  eompaure  liUt."—Bf 
■ideitbehup*,  agnntdcol  cf  nov4^  bu-been  pro*ided,  bnt-it 


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mi  priocipaU;  lUIian  dnmitic  nn^.  A  nqnieni,  bj  Ha  Boca* 
■A,  met  great  appiolMUoB,  both  fnw  ml  jndget  Bud  the  public  it 
Iwgv. ,  Hotting,  bowerer,  era  luTe  depailed  more  widel;  finmi  tbe 
intcntioD  of  oratorio*  doriog  Lent,  than  thete  Klections.  Frocn  OA 
bilUit  Bppeart,  Ibat  Moeabt'*  "  Giovtaetle  che  fate  a  ramore,"  (II 
Don  Giovami)  t*as  llie  reigning  favourilc,  having  been  lung  tlirre 
timei  on  each  niglit  of  the  performance  at  one  house.  Initced  (he 
songs  and  selections  fiom  the  Italian  operai  obviousi;  cnrried  offtlie 
palm,  and  poor  old  [lAHDeLand  English  faded  into  comparative 
insignificance.  It  is  perbnps  of  little  present  advantage  lo  arraign 
the  public  for  the  mulaliont  of  fashion  or  even  of  taste;  but  vre  juia 
iDUiebell«r  af  ooccortetpoadeiil,  VsTiia,  who  in  the  opening  essajr 
oftbiiNumber  ttMti  upon  Ibe  fiut  coming  exdnilon*  of  Bn^ish 
music  and  masicinni.  At  the  Philharroonic  there  has  not  been  per* 
formed  onctolitarar}'  composition,  the  production  of  an  English  bu« 
thor— one  son^  only  of  Hahdei.,  two  piecea  from  theCreHtion  of 
Havdm,  one  song  of  Winter's,  and  one  trio  of  Beetudven's, 
(Mount  of  Olives)  to  English  words.  The  vocal  concerts  have 
yielded  almost  equal  division  to  Itniian — a  division  which  rrgaid- 
ing  the  present  rage  for  foreign  music,  we  consider  to  be  quite  as 
favourable  to  our  own  national  predilections,  ns  could  be  wfelj  in* 
dulged.  In  the  benefit  concerts,  which  have  been  nntunnllj  niune- 
nmi,  Italian  has  greallj  predominated.  These  various  perfonDBDces 
may  be  said  to  give  the  tone  to  (he  general — the  profeiiianil— «nd 
tiie  popular  tule.  It  ii  therefore  time  for  (be  English  proTesMnto 
look  nboot  then.  We  are  still  do  advocates  for  discoura^ng  fb> 
Ttfga  talent.  Let  the  lottSgaer,  weeay,  win  the  laurel  if  he  can,  and 
wear  it.  Bnt  let  our  countrymen  have  fair  play.  Tlie  current  now 
sets  strongly  Bgainst  them,  and  we  think  chieBy  tot  want  of  energy 
on  their  own  behnlf.  Our  correspondent,  Vetds,  has  shetvn  Ihrre  is 
DO  lack  of  indigenous  talent,  a  (ask  we  might  ourselves  otherwise 
have  Tolnntoered  in  favor  of  our  oonntrymen.  But  the  exeen  wilt 
probabt;  tend  lo  lbs  cornelian  of  all  that  is  reall;  evil  in  (he  appa- 

■  The  fallDwlng  anecdote  Ii  in  ciicnlatian : — A  noble  D — ,  once  (he  itaoiidi 
patron  or  Gogliih  moiic,  bu  lately  eoioe  roond  to  the  i)[riiUi>n,  that  there  h  no 

ale  but  amongst  Italians.  HisG— Utdy  pre  a  concert,  and  in  coDfermitj 
ih  the  new  ftith,  Italian  Biogen  only  aaisted.  Bnt  Hiss  Smam  was 
intted  to  bear  the  nnle,  ud,  u  wot  kindly  Unted  by  Ot  neUe  bcit  to 
MM  Htganti— ft*  MU  a  ftmn 


394  .     SKETCH  OF  MU!!|C  IN  LOtTDOK. 

^  rent  ftniiiritum—Uic  extravagance  of  commendation  ofUieone,  and 
ttie  tendency  to  absolute  ciclnston  of  the  other  pait  or  the  ptofenioit. 
Our  countiymen  will  taUjt  and  piove  tbrar  i^t  lo  an  equitable 
sTiare  of  tbe  estimation  and  applause  of  their  country.  This  it  all 

they  ought  to  seek,  and  nil  tliey  ivill  Geek.  We  say  ot  lliem  as  of 
llicir  compclitors,  Itl  tlicm  win  the  mwl  of  piililic  Tavour  if  tlieycan, 
and  let  lliem  wear  il  wiili  llic  grace  nf  modesty  and  of  liberalilj 

toniirils  liitfiit,  from  wlja'soever  sdII  it  may  sprini;. 

From  liiis  lirici  bul  iiol  imimporfanl  iligicssion  we  return  to  llie 
Oraloiios,  ^iliicli  Ciincliiilal  wilh  uiicnmm<in  cd<it.  On  itic  last 
iiiglit  ai  Ciivoril  Garden  llicre  men-  no  Icsi  than  two  Iimidrcd  per- 
formers in  lliebnnd,  nindcen  piiiifipal  >iiigiTs,  anil  six  solo  plajera; 
(lie  list  iniUtd  deserves  n  permanent  record,  as  well  aa  (lie  bill  of 
flire,  nliich  (sirijiped  of  its  useless  appetidiiges  ad  captandvm)  ne 
subjoin. 

Prinripal  tinRi-n— Mndamr  Cainpnrpse,  Maclnme  Atlicrl,  Signora  Corn, 
Mr..  Salmon,  Mi-s  Slrpi.cn-,  Mit.i  Carcw,  Mi^i^  KoTsy,  Miss  R.  Corri,  Mill 
Greeiii?,  Mr«.  B«l1rliainbcr!,Signor>AinliT0i!elli,  Aitgrliani,  and  Urgm.Mesm. 
Braliam,  rjiie,  Tmail,  Tinney,  and  Krllner,  ard  Masler  ST.iilii.    The  piin- 
■  ipal  ii.-lr.i„«-i,(.ilists  «ere,  Messrs.  Keiseiveller,  Puiii,  Willno..,  Nidiglso.i, 
Liil,  a[id  Liiuiley. 
A  new  "Pot  Pourri"  on  the  Violin,  rompcned  by  Kreitzrr;  in  which  will 
be  Introduced  the  Air  of "  Le  Petit  Matdot,"  by  Ur.  KicKireltei. 
Pabt  t. — Oreiture  to  the  ZiuberSote. — MozarL 
Fantasia,  French  Horn,  Mr.  PdzzI. 
Air,  Hn.  Satmon,  "Gratluajtimus  Ab\."—6u^»bm. 
ClariiKt  Obligato,  Mr.  WillmBii. 
Cintala,  Mr.  Brahim,  "Alexis."— /Jr.  Pqnuck    Violoncelto Obligato, bf 
Mr.  I.l.i-llej-. 

Dnetto,  Misa  Greeae  and  Mrs.  Bellch ambers,  "TellmEwbere  iiTkntrbted." 

—.'Iff  J.  &cjc«ton. 

Recit.  Mils  Carew,  ■'  Ye  Mfii'.l  prWK  ;'■  'aiid'Air,  "  Farewell  ye  I'inpid 

streams."- //™,/et 
New  Rcrit  ed  Atia  (MS),  M^idanic  famporcse,  "Cesii  omai."— A'ojo/m. 
Qimrfetio,  Mrs.  Sali.wn,  Mr.  Braliani,  Mr.  'IVr.ail,  aiul  Mr.  Tinney,  "  Cam 
o'er  Ihe  lirook," 

Jjoetto,  Madame  Camporesf  and  Hignor  A.iibr„ydli,     IV.  placere  alia 

Chonis,  "  Wc  praise  thcc,  O  Goci."  The  Solo  by  Mr.  Pyne.—HamleL 
New  Capricdo,  tlarp,  Mr.  Dizi,  aceompanietl  an  llie  Flute  by  Mr.NichoUon. 
P*RT  2.— OTcrlure  to  Pro.uclhcu!.— BertAoDm. 
Air  (Willi  lariatlons).  Flute,  Mr.  Nicholsoii. 
Recit.  cd  Aria,  Madame  Albert,  "Vanne  a  ramraenta,"— Poer. 
ReiJt.  iccomp.  Mr.  Braham,  "  Comfort  ye and  Air,  "  Etcij  nlley."— 
BandA 

Ballad,  M<M  Pot^,  "  O  loflly  sleep,  my  tiab;  bey."— <h  SnM. ' 


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tUXCH  UF  HUBIC  IN  LOHDON.  395 

Aria,  Signor  Begret,  "Prta  che  spunti." 
Duetto,  Madame  Albert  and  Slgnor  Aiigrisani,  "  No,  DOa  credo." 
Grand  Storm  Scena,  Mr.  Kellner,  "  Fast  into  the  waves."— Bitfcjp^ 
KcciL  ed  Aria,  Signara  Con-i,  "  EsulU  appicno." — ZingantlL 
Duello,  Misi  Stepliens  and  Signor  Angrisani,  "Giorincltc,"  and  Choroi." — 
Slozart. 

Air  (by  desire),  Master  Smith,  "  Sons  of  Freedom."— UfjA/.;.. 
Daetto,  Signora  Coiri  and  Miss  R.  Corri,     Vcdcilo  sol  brjnio."— i'osf. 
Air,  Miss  Stqihcns,  "  Cease  your  tuniung." 
Duetto,  Mr.  firaham  and  Mr.  Kellner,  "Deserted  by  the  traniog  moon." — 

Flii^»-~Aiia,  SifooT  Angritoiii,  "  Vin  Enrico  i"  with  Qowtetto  and  Cbonu, 
%ioni  Corri,  Signer  Be^,  &c— PneWi. 
P*BT  3.— OrerLire  lo  LodoLska— K™<(ar. 
Air,  Hiss  Greene,  "  Whilst  with  yillag^-  maids  I  it  raj..-— JAW* 
TeCMttO)  Mis*  Stephen),  Signor  iiegrcz,  anil  Siznor  Augrisaai,  "Cho  li  par, 
Doriiia  bcUi.-'-Surli. 
National  Air,  Mr.  Braham,  "  NelsD.i."-Broiani. 
The  Kclio  Sang,  Mua  Stephens.— BoAiip. 
A  Nan  Grand  Triumphal  Ode,  in  honour  of  the  First  Annirersary  of  Hb  Mott 

Gracious  MajcBty's  AccctsioD,  composed  by  Mr.  Bishop. 
Tiie  whale  to  conclude  with  tho  National  Aalham,  "God  uie  tha  King;" 
with  additiounl  and  appropriate  staaus,  vrilten  by  W.  P.  Collanl,  Eiq. 
The  SolMbjr  Min  Stepheav  Hin  Greeny  ud  Mr.  ftaham. 

Such  was  tbis  "unprecedented  anerablage  of  talent,"  and  lucli 
ttie  variety  of  the  selection,  nhicb  certamljr  contains  a  vast  quan- 
titj  of  Gne  com|)osition  in  all  Btylos.  The  pwronmtpce  laBfed  fi?e 
hours  and  three  qiiatlcrs,  and  it  is  icarcely  probable  that  Eoglaod 
will  ever  witness  such  another. 

The  BenepitConcehts  have  bctniiiicoratnonly  numerous,  and  lo 
many  yonng  cnmlidates  for  public  fnvor  have  been  introduced,  that 
WE  cannot  oven  recite  tlieir  names.  One  has  excited  particular  al- 
ticular  attention,  Lb  Jbone  Hypolite  Labsonneue,  a  hoy  of 
twelve  years  old— a  Tiolin  player  from  France.  This  cliild's  a(- 
lainmenti  were  certainly  very  considerable;  his  tone  was  pure,  firm, 
and  xound  5  fais  intonation  correct,  and  his  execution  neat,  certain, 
and  extentlve.  BU  bow  arm  was  amazingly  fin^  and  there  was  a 
general  dignify  and  conimund  in  hla  altitude  and  pcrfomiancc  very 
nncommon.  It  would  not  he  fair  to  expect  at  such  an  age  all  the 
accomplishment  of  taste,  judgmeni,  anil  feeling,  in  their  inatuiity, 
but  Ihe  approximalion  to  excellence  was  very  close  indeed  in  all 
these  qualities.  The  deficiency  was  chiefly  lo  be  discerned  in  the 
want  of  the  itrong  lights  and  shades  that  conititnte  the  lait  pei- 
ftctiont  of  GODcepttQBand  execution. 

TOL.  HI,  MO,  XI.  3  I 


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396  fKsrcH  QF  uvtK  IN  umnoK. 

Amongst  the  moitpnmitiiogof  tbeie  younger  profesMn  ve  may 
inietllhe  nametoftbetHo — MisiEsAsuB,froin  Balh,«haseneBland 
(lelicBtB  executioD  on  the  piano  forte  and  harp,  an  J  nhosc  singing 
conjointly  give  them  poffcrful  rccomiDcndatious  fur  genera!  talent  to 
public  favor.  Tliese  young  ladies  are  the  ilauglitera  of  the  well- 
known  conductor  of  the  Bath  Conferls,  Ma.  Ashe. 

A  practicL-  lias  crept  into  sufferaoce,  which  the  public  however 
has  in  several  instances  this  seasoa  marked  with  Ui  jiully  incurred 
disapprobatiao,  and  trhicli  certainly  mots  moie  ecrerc  conectioo. 
Ovlng  to  the  rcqneat  ui  which  particular  lingcR  aland,  tbeir  namca 
are  considered  a*  iudispeniable  to  erery  bill  of  face.  In  the  bat 
regulated  conccrls  their  presence  II  oftm  delayed  by'lheir  msRy  en- 
gagements on  the  same  night,  and  the  v^ole  leleclion  ii  deranged  hy 
their  non-appearance  at  tlm  lime  and  in  (he  place  ipecilied.  At 
BiMicfit  Concerts  Ihey  frequently  do  not  sing  at  all,  and  the  public 
arc  thus  dcludt'd  bj  a  promise,  v,  Inch  is  not  uuly  never  fulfilled,  but 
ill  niiiny  esHmplcs  liiat  ive  could  quole,  was  never  intended  to  be  ful- 
tltled.  Such  practices  are  at  once  insulting  and  frnudnlent,  and  in 
one  or  two  instances  the  names  of  great  inslrninenlalisls  have  been 
inserted  also  without  their  consent. 

There  has  been  much  private  mush:  in  town  during  the  waton,  at 
vhich  howaver  futeign  muiicians  ha?e  been  Ibe  principal  ntliactioni. 
We  have  always  coneidcKd  that  in  tba  Goncert  of  Antient  Mnsia 
there  was  as  nigh  br  approach  to  perfect  execution  as  could  be  any 
where  found,  whatever  may  be  the  differences  of  taste  respecting  the 
nge  and  style  of  the  compositions  selected— yet  even  in  that  room  ne 
have  heard  it  has  been  whispered,  that  the  Anticnt  Concert  was 
"  tcry  melt,  but  tbere  were  private  circles  in  which  nionc  the  true 
gusto  reigns,  anil  really  fine  performance  conid  indeed  be  heard." 
This  may  seem  kj  uiiiers  ns  n  ijiil  in  outm-ivcs,  "  high  fnnlaslkal" 
but  wc  as!>ure  lue  icauer  iiiui  uio  luci  is  [me-  ao  nibiliary  is  fashion, 
and  so  exclusive  are  ber  rulers  fain  to  become.  We  most  grant  that 
amongst  the  liiglicr  orders  Ihe  art  is  certainly  sedulously,  and  in  many 
instances  entliusiiisljcatly  cultivated.  Professional  skill  is  emulated, 
and  not  unfreqaently  attained  amongst  Ibe  daughten  of  nobility:— 
Science  toois  conoeded  witii  execadou,aDd  the  appoituoilies  ofoyoy 
injf  the  best  ioitruction  and  of  htaring  and  comparing  great  pn^esaon 
whicb  the  opulent  possess,  bare  certainly  condnctcd  many  of  those 
wbom  tbe  same  affluence  bas  not  allured  from  the  labor  of  tboi^lit 


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«KErCB  OF  MUSIC  IN  LOMXRI. 


397 


■and  practice,  to  fine  lasts  and  high  endoimieat  iu  senml  biancliet 
of  mntloal  Kikaice. 

Ib  out  Iftte  Nnrabeia  we  brnn  rabsnUod  to  oar  readers  certain 
UapTOTCmeDti  in  tbe  conrtmction  of  (he  piano  (orte,  which  provb 
thnt,  notwithtlanding  the  long  and  incessant  attention  paid  to  that 
instfumcnt,  it  ia  slill  found  suscpptiblG  of  new  and  important  nllera- 
tioos.  Indeed  it  is  quite  impassible  to  foresee  the  excellence  to  irliicb 
philosophicni  and  meclianical  ingenuity  may  be  carried.  Botli  Ma. 
Stodart's  nnd  Ma.  CoLbARD's  inrentions  must  be  considered  as 
valuable;  and  inilccd,  if  the  diflereoce  between  the  balk  of  tbe  mclal 
lubes  employed  by  the  former  and  the  Ktringi  of  the  piano  forte 
(^tKMetno  dxladsto  tlie  equal  opeiatioD  of  tbe  lenipenituie — if  both 
Mpwid  or  contract  alike,  there  is  every  reatm  to  beliera  (bat  Ma. 
StooABT  hat  applied  a  meani  by  which  (be  imtruiaenl  ilielT  cor> 
ntita  aU  nnaliow  from  the  pitch ;  and  we  have  the  satisfaction  to 
»idf  that  wa  are  Bssnred  the  tubes  are,  after  a  very  few  minuteS) 
a^cted  by  heat  or  cold  in  the  same  degree  as  the  etrings.  Mr.  Coi.- 
r.AED's  improrenienl*  stand  upon  principles  more  easy  of  invesli- 
gatiun,  and  may  indeed  be  said-to  iledarc  at  once  their  own  meriis. 
Nor  lire  tliese  the  only  advance!  towards  iosfrumenlat  perfection. 
Tiie  Iriaii  harp  has  been  coneideiably  Improved,  of  which  we  sliaU 
take  occasion  to  speak  more  at  large  m  onr  next  Namber,  vdieti  we 
shall  liave  had  sulheient  time  to  enquire  into  and  exainine  (be  merid 
of  Ma.JDoAN's  contrivance. 

We  bave  it^l  to  remark  the  deartfa  of  liomposUions  of  (be  bigbest 
siderB,aniidit  (hepKrfluion  of8lltbeKverBlapedesfi)r(he  metUTtiia 
ChamiMr.  This  ii  true  not  only  as  regards  instrnnienlal,  bu(  at 
respects  vocal  music.  Scarcely  onegood  orchestra  song*  has  been  pro> 
duced,  and  the  eoncerletl  pieces  are  far  less  numerous  than  they  were. 
Tide  however  may  be  accounted  fur  by  tlic  decided  preference  for 
Italian  mnsic.  That  instrumental  praclice  is  advancing  ia  perhaps 
the  most  obviainphenan)eiion,eicept  perhaps  (hat  vocal  expression 
has  declined.  If  ilyle  means  character,  and  if  cbaracter  be  demon- 
strBied  by  passion  <af  whatsoever  kind),  thfcre  are  few  of  our  stiigen 
who  can  be  said  to  have  any  legitimate  style.  Omammtand  BgUHy 
now  stand  iu  the  place  of  all  the  B^ctloni.  It  ia  not  less  cnrioni  than 

*  WecmcaUtDBued three railyllntfaaTeaDydwnstopNiDaaflatplcee: 
HK.KNAaiofes"a%areA«MM«tf'B«oa%r*Ai<«««>9,"  Ha.Btno'r's^Btf 
me  tteemtf  and  Ma.BoB*Ln's  Lmtra. 

3  F  2 


598 


izue,  OoA  Hun  ii  not  now  &  ftmnle  ringn  who  is  celebrated  for  (bt 
perfoniuuic*  of  a  tingle  song  of  gntadeur  or  pathos  in  Ihetrnljr  gteat 
stjle.  If  we  trace  Mbb.  Salmon's  reputalion  to  Ibc  Bounce,  we  shall 
find  it  in  Handel's  "  From  mighly  Kings" — n  song  drawn  from  ttj 
lecond'rate  eslimalion  bj  that  lady's  beautiful  (one  and  exquisilc 
hcilHf,  TlicTC  might  pcihaps  be  some  daubt  rL-spccting  the  altitude 
of  Miss  Stephens's  flight.  But  lliis  very  unccitaiiitj  marks  the 
truth.  About  Maiia's  supremacy  there  was  no  questioning. — "/ 
know  that  mi/  Redeemer  liittk,"  '.'  Farewell,  ye  limpid  springs,"  and 
"  Sing  Iff  in  llie  Lord,"  were  her  triumphs — lier  acknowledged  tri- 
umphs. The  fuel  is,  WR  fimr,  that  no  linger  now  cultivate*  the  gtai 
■lylc  singly  and  tolely — because  the  gim»deor  of  Bunplicity  bu 
melted  into  voloptaoasnetssnd  eiceiriTe  ezecntioii,  uul  andienonBie 
inirnsiblo  or  arerae  to  loAier  afiiiction*.  Nor  a  it  less  remarkable, 
that  tlicre  is  not  now  a  single  caiididale  who  can  advance  any  tiling 
like  fair  pretensions  to  succeed  to  the  honouis,  either  of  the  theatre 
or  (he  orchestra,  as  Icnor  or  as  bass  singers,  when  the  present  occu* 
pants  fihall  have  retired,  or,  likcpoorBAaTi-BUAN,  shall  be  snnlched 
from  the  scenes  of  their  success.  Ytt  i(  is  not  that  but  few  enter  Ihc 
profession.  If  the  principles  oftbcgreat  Roman  school  were  founded, 
it  required  nt  least  ten  years  to  fit  a  singer  for  hii  first  public  efforts. 
We  are  disposed  to  give  even  a  far  longer  period  to  the  pioduclioa 
of  extreme  perfection.  The  million  of  English  singers  are  mined  hy 
being  trained  in  part,  and  brought  out  in  their  infancy  or  thdr 
diocrity,  above  which  they  nerer  rise,  for  the  difficulty  Ilea  in  Ibe 
Btlainraent  of  (be  last  polish  i  and  to  the  labour  of  inch  acqumtion 
there  are  bnt  few  indeed  who  hare  the  gentoi  or  the  ambllion  or  the 
industry*  to  aspire. 

Whatever  may  be  thought  by  the  devotees  of  abstruse  science,  who 
are  a  lillle  apt  to  look  with  contempt  upon  the  acquirements  of  rouii- 
cians,  we  are  quite  prepared  to  mainlnin,  that  more  tnlenl,  more 
labour,  and  more  time,  arc  requisite  to  make  a  fine  singer,  lhat  would 
furnish  forth  a  first-rate  mathcmalicitin  or  a  first-rale  classicnl  sclio- 
lar.  We  are  aware  that  the  proficient  in  either  of  these  studies 
would  also  contemn  the  man  who  should  compare  his  putsui  Is,  in 
Uieir  nature  and  object,  with  those  of  the  vocalist    Bui  so  br  at 

'  *  yniy  ilwald  these  qualities  ibew  tbemselTes  oTteoer  in  uutiumeatilEri* 
Unn  hi  stogent—ls  a  qaeifiaa  w«  wonU  propoi*  ta  our  pldhwiplikal  corrw- 
pDodHta  to  luwer. 


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SKETCH  OF  MUSIC  IK  LONDON. 


mere  knowledge  only  ia  concerned,  wc  queslioR  whether  the  sope- 
rioritj-  Ibni  assumed  hu  any  solid  foundation.  If  Ihe  eojoyment 
and  the  comma nication  of  happiness  be  tlie  end  of  life,  yie  arc  dis- 
posed to  believe  the  mniician  has  the  best  title  to  precedence.  We 
havedrawn  thupanllel  tottbateUie  common  pTgadice,andfoBhew 
wbatitootbtoKBCagmtpiibliGtingni  fbrif thenaUerbeviewed 
In  tbia  ita  joit  bearing,  we  ought  not  to  be  much  surprized  at  Ihe 
dearth  now  so  generally  -risible.  Neither  let  it  be  forgotten,  that  the 
tVbre  highly  art  is  cultivated,  and  the  better  it  iinndeiElood,  [lie  more 
nrely  gifled  must  they  be  who  rise  to  pre-eminence. 

Viewing  then  the  entire  art  in  its  progression,  it  should  nppcnr  that 
it  has  gained  strength  and  advancement  since  our  last  estimate  n  f  wdvc- 
montb  ago,  and  music  will  certainly  take  deeper  root,  and  flourish 
more  widely  amongst  us,  if  ila  very  excellence  does  not  abate  the 
ardor  by  enhancing  the  difficulty  of  attainment  Of  thiswe  slill  see 
the  same  danger  as  we  then  poiiifed  oat.  Tbers  aro  however  the 
strongest  proofs  that  it  is  becoming  tho  ornament  and  Ibe  so]ace  of 
oUier  classes  beside  the  most  afflul!nt;'and  ifwisely  used,  mare  not 
less  certain  that  tniuic  has  always  a  tendency  to  meltorate  at  well  ai 
to  soften  the  manners,  and  taken  with  its  necessary  concomitants,  to 
enlnr^  the  understanding  and  the  heart.  Tiic  proofs  to  n  hicti  ttc 
sUude  are,  the  increasing  manufacture  of  instruments,  the  vast  aiig- 
mentation  of  musical  publications,  and  the  iiiiniber  of  professors  and 
instruclon.  It  is  a  real  gratification  to  us  to  close  our  cxpo.'ilion 
with  these  facts- — for  wc  speak  advisedly  and  cjipcrimcnlaiij-,  when 
we  say  that  long  observation  has  convinced  us  Ihere  is  no  pursuit 
more  pleasurable,  both  to  the  individual  and  to  the  circle  in  which 
be  moves.  Nor  is  thb  its  best  attribute.  Music,  scientifically  gdU 
tivatcd,  is  at  once  a  protedor  and  an  introduction.  The  attention  It 
demands  piedndea  the  mind  from  languor,  and  from  the  void  of' 
idlmess  or  Ihe  waste  of  vice,  wbila  tbe  passport  it  afibrds  to  el^nt 
and  acGonipUilied  socie^  is  at  the  same-time  a  recommandation  and 
a  tewaid.  These  an  tratbs  we  cannot  too  cficn  nor  too  eainnlly 
cnfbfoc 


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HAQAHE  CATALAin. 

We  mn  patting  tbe  Uit  bni  to  oiAr  Smihtx,  wbn  we  kftncd 
tlurt  tfusgnatnngtT  w»i  bonrif  expected  u  jSnglwd..  Wabori- 
taled  not  lo  6eUy  oar  psUlcftlion,  In  order  to  Indwle,  ■honld  «ppor- 
tonil;  be  affiinled  us,  some  account  of  tboK  mntnlioni  nUdi  laigkt 
wdt  be  imagined  lo  hare  (aben  place  in  the  Toice  and  manner  of 
one  wlio  is  unquralionabiy  supreme  in  art. 

Hadaue  Catalan!  hud  no  sooner  reached  London,  than  ibe 
announced  »  conci^rl  at  (lie  Argyll  Roomi,  to  lake  place  on  Monday, 
July  16.  On  the  morning  of  Ihe  previous  Saturday  there  was  a 
leliearsnl  of  Iilt  iuiigs,  (o  wliicll  ranny  of  t  lie  N.ibilily,  dislinguislicd 
Amateurs,  and  emini'iit  Prolcssors,  were  admidc'd.  Wt  esteem  our- 
selves particularly  fortiiriatt?,  in  having  been  present,  for  we  might 
not  perhaps  bave  been  enabled,  nnder  any  olhei  circnmstancea,  to 
examine  lo  miajJdy  Ibc  aitoniihiof  poircn  of  tlui  faighl;>gined 
iadindual. 

OfMADAUB  Cat*i.AKi"b  talcnls,  previous  lo  her  leaving  this 
caaotryi  we  have  already  epoken  at  sutEcierit  length,  in  ilie  cnrly 
part  of  our  flrst  volume,  when  describing  her  acqiiiremrnts  logclber 
with  those  of  Madaur  Mara  and  Mas.  Billingtoh.  In  point 
of  energy,  force,  and  excciilioii,  it  shoulil  even  then  liave  seemed, 
tJiat  site  could  go  no  further.  But  ncillicr  art  nor  llie  facultiet  are 
stationary ;  Uicy  advance  or  they  decline.  The  quail R cations  of  the 
subject  of  our  present  regard,  Tast  as  they  originally  were,  arc  ccr- 
lainly  enlarged  as  (hey  have  become  more  matured. 

They  vrbo  vould  rightly  and  completely  appreciate  this  prodi- 
gious singer,  must  be  acqnainted  nilb  Italian  exptession—njoit 
sorrender  tbcntselve*  to  their  ftetinga — must  look  sdcljr  to  effixts, 
and  remember  that  e^ts  will  often  bear  down  roles. 

"  To  snatch  B  grBCe  beyond  the  reach  of  art" 
is  the  very  privilege  and  prerogative  of  genius,  and  it  is  one  nhich 
CAtAi.ANi  uses  to  its  extremeEt  extent.  It  is  not  perhaps  that  she 
imagines  ivhat  other  singers  arc  incapable  of  inventing,  or  thnt  she 
does  what  they  are  imabk  to  execute.  Her  aupcriorify  lies  in  the 
mtfnncr.  And  Iherc  is  no  one  that  can  rise  to  Ihe  smallest  chance 
of  comparison  with  her,  in  anioiation,  in  force,  in  volume,  in  gran- 
deur, in  rapidity,  or  in  ttuuitloa.  In  all  these  attributes  she  ii 
tnntdilesi. 


UADAU£  CATALANI. 


401 


Madaub  Catalani's  style  is  Btill  purely  <lramatic.  this 
epilhet  we  mean  lo  convej',  the  livid  conception  that  cxalls  pafiion 
to  the  utmost  pitch  of  cxpressivepcei — thebiiiliancy  of  colouring  that 
invests  cTer;  object  upon  which  the  imagination  MIi,  wilh  the  lidieat 
.clathing—tfant  gives  tlie  bioadest  lighU  and  the  deepest  abadowq. 
Hence  there  ii  a  particulBT  point  io  the  penpective,  firan  iriiich 
alune  she  can  be  viewed  to  advantage.  Dislance  is  iiidispeutabl^ 
fur  her  cfTorls  arc  calculated  to  opcrale  (hrougli  amplitude  of  space 
mid  u|Kin  llic  brgtist  assemblies.  Approach  ber,  and  she  ia  abso- 
lutel/  terrific :  the  spcctatur  trembles  for  the  lovely  frame  that  hs 
pcrceivts  to  be  so  tremendously  ngilatcil.  Tlicy  who  have  never 
ivitnes^eil  the  cnthuiiiiism  Ilmt  illumin.ilcs  that  finest  of  nil  created 
couiitciiniices,  have  never  seen,  no  nut  in  Mns.SiDUONS  herself, 
the  perfection  of  majestyj  nor  in  Miss  O'Ngii.i.  the  softest  triumplit 
of  the  tender  affV-ctions.  Madame  Catalami's  person  is  a  little 
increased,  and  bcr  fealiiies  are  now  stamped  with  the  complete  and 
{Krfcct  dignity  of  consummate  beauty  in  its  richest  matutily.  Her 
thoughts  literally  coruscate  through  the  bright  radiance  of  her  eyes 
and  the  everMihniigiqg  varieties  of  her  countenance.  Her's  it  the 
noblett  order  of  farms,  and  every  vein  and  every  fibre  seems  instinct 
with  feeling  the  nonent  she  begins  to  sing.  Never  do  we  recollect 
to  have  observed  such  powerful,  such  inslaDla'neous  illuminatlocit  of 
her  figure  and  her  features  as  Catalaki  displays.  Thus  the  whole 
person  is  aiding  (how  strongly !)  the  cBl'cIs  of  the  most  extraordi- 
nary voice  and  the  most  extraordinary  energy  anil  the  most  extra* 
ordinary  facility  the  world  of  art  has  ever  known,  and  the  combined 
results  are  irresistible.  The  mind  is  now  allured  and  now  impelled, 
HOW  »wed  by  dignity  surpassing  all  Hint  can  be  conceived,  now 
transported  by  smiles  of  lendeniest  more  exquisite  than  poetry  has 
ever  fancied. 

Upon  the  present  occasion  she  sung  a  "new  grand  air,"  by  the 
MAuauia  Saupieri,  "  Delia  superba  Itoma  j"  an  air  <by  Rode) 
with  variation!,  originally  written  for  the  violin,  though  adapted 
to  Italian  words ;  a  recitative  and  air  of  Pocitta,  "Miobenc," 
and  Mozabt'b  bass  song  (in  Figaro),  "  Non  piu  atidrai,"  witii  a 
■verse  of  "  God  sate  the  King,"  by  way  of  finale. 

Her  audience  wax  numerous  and  splendid,  and  her  reception  most 
il^tteTittg.  In  one  of  the  boxes  wei^tbe  OncBs  of  Clakxhce  and 
Cahsbiboz,  with  the  Pfliiicssi  AoGtriTA  aod  (he  Dqchmim  of 


HADAMJE:  CATALAN!. 


GLoucEETenand  ofCAMiiRiDGE— the  room  glittered  vilh  Btanand 
atdert,  notwitbtanding  themiuic  foi  the  coronation  m*  raheaned 
at  Cailtoii  Palace,  and  Hx.  and  Msg.  Coutti  bad  a  gniiid  concert 
andbaUetcammencihgattliesaniebonr.  Tbe applatuet at  heren- 
tnnoe  weielond  and  long-lattiog. 

Tliefint  Ihiee  wards  tbatHAOAMK  Catalami  lung  vere  tnxlj 
cfaaTacteristiCt.and  had  "tbe  mistrciB  of  tbe  vorld"  been  personified, 
a  more  noble  representative,  "delta  stipfrba  Roma,"  there  could  not 
have  been  found.  Tliiti  vat  a  song  of  gmndeur,  and  dispTn)'cd  her 
volume  and  declamation  (o  the  bc^t  adv.-intngc.  In  Hode's  cnmiM)- 
sition  the  nir  allowed  her  to  ilcmonslratc  lier  power  of  simple  canla- 
bile  singing,  lyhilc  iLe  varialiorisijivc  ample  scope  for  licr  execution- 
She  rules  by  force  ralher  llian  finish.  Thtousliuul  the  energy  and 
Telocity  Mere  aaloniahing,  and  iu  one  ciiromatic  ascent  by  semitones, 
Iier  voice  resembled  the  rushing  of  a  mighty  wind  tbrougb  tree), 
but  distance  took  olF  this  singular  effect  of  poner.  Pocitta'i  song 
aSbrded  opportunity  for  tender  expression,  and  her  ntterance  of  tbe 
-words  *<i>£ffe  cAe  FamOf"  (accompanied  by  the  raost  encbanling 
look  of  tendemeis  that  ever  fascinated  niorfal,)  was  ezlacr  itself 
nor  was  there  less  delightful  contrast  in  the  syllables  "fomorim 
per  lei,"  of  which  all  description  roust  fail  to  convey  cilher  the  tore 
or  the  manner. 

Yet  nofwilhstanding  these  extraordinary  beauties,  perhnpa  "-Von 
pirt  andrai,"  may  be  said  to  have  been  the  favourite  of  the  night. 
Madahb  Catalan)  transposed  it  a  note  higher  th«n  ils  original 
key.  The  song  was  probably  chosen  in  order  to  manifest  the  strength, 
quality,  and  facility  of  her  lower  tones,  and  perhaps  also  the  rich- 
ness with  which  she  is  able  to  confey  delicate,  humour. — She  Tsried 
some  of  the  passages,  introducing  a  few  descending  notes  upon  the 
repetitions,  "  Non  piu  mrai,"  and  occasionally  changing  tbe  me- 
lody where  diversity  might  render  such  nUcrations  more  pleasing 
than  the  original  notes. — tilie  also  appended  two  or  three  very  bril- 
liant cadences ;  but  the  general  manner  of  (lie  whole  song  had  a 
peculiar  and  mellow  raillery,  particularly  upon  the  words  so  often 
Tccnrring,  "  ^VoTt  piu  audrai"  that  gave  the  superior  cbarm.  To 
conclude  the  concert,  Cod  steoe  the  King  was  deUvetcd  with  a  pro- 
digious volume  of  voice  and  declamatory  power. 

Tbe  change  tbat  we  prinoipallf  percdve  is  an  incrMM  of  tbe 
i|aantity  (not  an  amdioration  ot&a  quality)  of  (he  tone,  an  auj;- 


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MADAME  CATALIMI. 


mentation  of  the  general  force,  and  a  more  decided  application  of 
nrioa*  Inuuition.  Tbese  raatatioM  add  both  lo  the  miycat;  nnd 
the  fendemni  of  her  ■tjle,  nhicb  ie  certoinl/  hei  own  altogether. 
She  lakei  the  hearer  bf  ilarm.  She  cohtuIms  and  ahe  melU  bti  BDdi- 
ence  by  tumt— she  alfecta  by  Tehemeace  not  lera'than  b;  raplditf. 
There  it  fiowerir  nolfatog  raoFe  ourlout  than  Ihegradaliont  percepti- 
ble by  varying  the  degree  of  conlignitj — for  the  auditor  voald  nn- 
qucslion.nbly  form  a  different  judgment  according  as  he  recedes  or 
epproBclies  Ihe  singer,  through  all  shades,  from  absolute  terror  la 
mere  brilliancy  of  execution,  and  expression  superior  for  its  strength. 
Bat  at  any  distance  he  would  not  fail  to  acknowledge  Catalani'e 
supremacy.  Tlic  absolute  force  can  only  be  measnred  by  obterra* 
tioD  at  the  nearest  remove  from  Ibe  orchestra.  There  alone  can  the 
infinite  and  rapid  workings  of  licr  eensibility  be  accnretely  discerned 
and  anderslood.  Her  iatoDation  nppean  lo  na  jnoie  oextsin  than  it 
was.  Her  iaventkn  is  probably  little  if  at  allextended-^oi  theBtill 
adheres  (o  her  favorite  riffioratnenti.  One  of  her  strongest  pccnllari- 
lies  in  this  respect  is  the  repetition  of  the  same  phrase  three,  four,  and 
even  five  times  in  succession,  and  rcpcntinj;  nl^u  slinkca  upon  distant 
intervals.  We  observe  the  same  agilalion  of  the  muscles  of  her  face — 
and  the  motion  of  the  under  jaw  is  incrcaseil,  particularly  in  the  shake, 
which  when  near  appears  to  be  much  too  violent;  but  this  disagree' 
able  effect  is  lost  by  distance. 

Madams  Catalahi  rctnrns  to  this  Ciiuntry  greater  than  when 
the  left  it,  gnaUdt  Her  very  highest  notei  may  i>erhaps  be  some- 
vliatimpaindibiitthis  vehavenomeansof  doterraining.  In  every 
otb*  part  and  altribnteof  h«rToice  and  style  she  Is  decidedly  ma- 
tnied  and  mellowed.  Me  mntt  be  judged  alone,  forahe  has  nothing 
]n  common' with  any  cthw  singer.  It  Is,  we  repeat,  by  the  eSect 
cmly  tbatwe  can  eatimate  her  ability.  Measuring  then  by  this  simple 
standard,  we  sny  that  she  gurprises,  agitates,  convu1ses,and  enchant* 
HE  by  turns— that  her  dignity,  her  tenderness,  and  her  enthusiasm 
defy  description,  and  that  the  m^esty  of  her  voice  b  equalled  only 
by  the  beauty  and  command  of  ber  form  and  coonlenance. 


Tou  in.  yn.  xt. 


OBITUARY. 


It  hit  alwHji  betxi  ■  put  of  <jat  original  deiign  to  record  llie  deathi  of 
•mincnt  muiical  profeasorc,  with  such  notices  af  (heir  livei  and  worlu  ai  might 
Mnc  to  assist  iii  perpetuating  names  dear  to  art.  We  haxe  hoWBTer  hidierfe 
freqacntly  found  nmdi  ililHcaltj'  in  obtaining  ifathtnlh  particQlan,  winch  nnot 
•Mount  for  our  appareut  ucglpct  of  Iho  dutjF  of  paying  a  tribute  to  departed 
eminence,  acceplablc,  as  we  sliould  esteem  it,  both  to  immedbte  connectlow 
and  lo  the  world  of  scieiire.  We  now  however  comineneeour  necrology  with 
■  Dotitc  ot  tho  late  Da.  Callcdtt,  a  man  who  highlj'  advanced  (lie  character 
of  Eoglub  Music ;  at  the  same  time  wc  beg  to  say,  that  hc  Imre  contracted  our 
memoir  in  consequence  of  hiTing  miderstood  that  it  is  in  Iho  coiitemplatioa  of 
Ui  flniilj  fo  re-pabli>h  s  coliecQon  of  his  worlu,  and  to  prefaoe  \t  with  Mna 
acooant  of  tlte  life  aC  Uw  Mithor. 

John-  Wall  CAtLCOTT  waa  bom  al  Kensington  Graiel  Fit5,on  tlie  Iwenfieth 
of  Nocember,  1768.  He  was  placed  under  the  care  of  Ma.  Wiiliah  Youso, 
where  hli  progress  was  considerable  (ut  his  age.  At  tnelic  years  old,  when  he 
wai  remoied  from  schi>,il,  ]w  1,^,1  rt..nl  n.ui  li  of  Oi  iil,  tli,.  ^rt jtcr  |>jrl  of  VIfeII, 
and  had  begnn  the  Mu'lj-  i.f  tlic  Cr.  ck  Teslament.  I'vom  this  early  period, 
bis  acquirements,  whii  li  uerP  very  grr.-it,  nure  ibc  fruits  of  tiis  own  industry. 

ilis  attention  was  addressed  to  mosic  at  the  period  of  his  Leading  school  (1778), 
when  he  obtained  an  introdhctlon  to  theOi^^ltt  of  Kensington,  and  began  to 
practice  upon  ■  (pinnett,  widd)  Ui  bther  bodght  for  him.  MoM  the  jnr 
1783  heoftmattendadOie  MrriMat  Abbqr  Htd  the  Chapel  Royal,  and 
made  Mine  acqnuntance  iriUi  Kvetal  of  the  huiU  of  the  prebraion.  In  thii 
year  he  was  also  appointed  ANiatant  Organiit  at  St  George  the  Hartjr, 
Queen's  Square,  Holbonr,  by  Mk>  RetnitocI).  He  nearly  at  the  same  ttme, 
tliroughthc  kiudneH  of  Dn.  CooBE,  obtained  admlsdOD  to  the  OrdieMraof  the 
Academy  of  Ancient  Maiic>  and  he  inng  in  the  chorussei  of  the  Oralorioa  at 
Drarj-lane  Theatre  doiitig  1783, 1784,  and  1766. 

In  the  first  of  these  yean  he  b^an  la  Iwitnw  mne  attention  npon  the  ptin- 
dplei  of  vocal  compoailiDDj  and  he  finished  his  firtt  dee  to  the  words  ofGRAv't 
ode,  "0  .VooemVn  a/the  i^lloig  tool i"  prinled'innAK  rex's  33d  CulleciioD. 
From  this  period  be  contiaoed  tolnlpnne  b  TOCaVharmonj-.  IJuring  the  year 
1734  he  had  the  pleasnre  to  attend  the  oomateinorslion  ol  IIahdul,  in  Wm- 
minster  Abbev.  In  the  following  year  he  gained  three  [irLii  -riicL!,i]^  -ivfn 
by  the  Catch  Club,  and  took  his  Bachelor's  degreeat  0\lon<.  m  tli  - iMifon 
of  Dit.  Pniup  Uaveb.  His  exerdse,  on  the  occuion,  nas  u|>nii  \Vartu>'> 
ode  lo  Fancjf.  In  I76S  he  bore  ofiT.two  medali,  at  the  Catch  Club,  anil  suc- 
ceeded tosereral  laluAble  engagements  In  teacbing,  through  the  interest  of  Da. 
Abhold,  by  whom  his  bIbb,  "  IFAcr  Jrihur,/^  in  Court  ieean,"  was  in- 
trodnced  among  the  music  of  7V  iaille  of  Ht^aa.  In  1787  he  gaiued  two 
more  medals  at  the  Cafi;hClub.  In  1788  hedid,.Dot  write  for  theprisei,  Ibough 
be  still  employed  all  hb  leisure  intbeitudyofconipnitieafof  (oices.  Id  1789 
he  ai^ain  ticcamc  a  candidate  for  the  medals,  and  had  thegood  fortune  (the  coo- 
cnniiLint  of  his  unconunOD  aliililles)  to  gain  all  (bar ;  a  drenmstance  which 
oeter  occurred  hcfore  nor  Hare.  He  «a*  elected  organist  of  Coreot  Ganlea 
church  in  1 789.  '  The  election  wai  howeFer  atrongly  conteated,  and  the  bnn- 
neu  terminated  by  apropotal.oa  the  part  trf  Ma.  CULOOTt,  fo  dhide  the 
ritoatkn  with  Us  Dopoaent,  Hk.  Cbuui  Etuis.  Id  ITDO  the  eelebiated 
Haysh  arrlral  in  Xendon.         fi.  wta  intradoMd  to  ibUf  ^  Ha- 


□  IgilizedbyCoogl 


405 

SlLOMOH,  ud  recdnd  tome  lesnnl  from  thlt  eminent  molician.  He  tc 
capted  the  offle*  of  orpnial  to  the  A>f  lum  for  Female  Orpbua  in  1792,  which 
dlnlbn  heieUMdliU  1803)  "lien  he  resigned  it  in  faTourotMR.HbMLnr, 
flia  prcMDt  worthy  lneiinibert,aftenTardt  fail  son-In-Un'.  In  1800  ho  took 
his  degree  of  Doctor  Id  Music,  in,  company  with  Ma.  Clemsbt  Skitb,  of 
Richmond.  Mr.  Houlet,  at  the  saine  lime,  took  the  degree  of  Balchelm-. 
Dr.  Cali^ott  first  coaeciTcd  the  design  of  compowng  a  Musical  Dictionary 
in  17fl7,  and  he  penoTered  in  it  for  some  ycarfi  after ;  bnt  finding  (hat  soch 
3  worii  would  interfere  too  much  villi  hfg  business  as  a  teacher,  he  laid  it 
aside  till  some  future  period  of  leisure  Biid  adiautagG,  atid  in  1804  and  laOS 
employed  bimtelfin  writing  the  "  MuMCal  Grammar,"  one  of  the  most  populir 
works  tn  Dtif  Ungoage. 

TbeGiammErirMfintpublishedby BiKcuALLinlHOe.  Inlhefoiiowingyeat 
bti  raiious  puraolts  and  inces'iiit  appliiatioii  brought  on  a  nervous  complaint, 
which  compelled  him  to  retire  altogetlier  from  busincM,  and  it  was  not  till 
1813  that  his  family  and  friends  apin  bad  the  happiness  of  seeing  him  among 
them.  He  remuned  well  till  the  Kutumn  of  1816,  at  which  time  ayniptoms  of 
his  former  indlspoMtion  again  appeared. 

From  thia  period  bis  profeasioiial  aiocations  were  wholly  suspended,  and  on 
the  Hh  of  May,  1841,  he  ceased  to  feel  all  further  affliction.  He  Has  Li- 
terred  at  Kensington  on  the  23d  of  the  same  month. 

The  basis  of  Ds.  CiLicon's  fame  rests  upon  his  glees,  but  ho  has  written 
some  songs  that  ace^ unequalled  in  point  of  legitimate  expression,  and  which, 
■3  vte  esteem  them,  are  modeU  for  the  formatim  of  a  fine  Saglisb  itj'ic.  Such 
an  oneli  his  "-<nf«'qf  ij/e-"  Hii  dee*  certainly  plice  him  among  the  teiy 
foremost  of  those  who  have  coltiTated  that  ipeciei  of  composition. 

No  man  was  erer  more  deiervadly  beloied  than  Db.  C«llcott  for  tho 
ventleneu  and  bcolgnitr  of  hli  diipositioti,  nor  mor«  highly  respected  for  the 
■stent  of  bit  larieiu  Utalnmentt  ia  langoige,  la  Utentnre,  ud  in  icieDCe. 


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TO  CORRESPONDENTS, 


Tfie  Commanlcalion  o/F.  iV.  H.  reached  la  loo  late  to  be  Inserted  in  Ihii 
Number,  but  skaU  certanli/  apjiear  in  the  neil.  We  haze  ontg  jtisl  riceir/d 
the  tellers  <ij  Dll  Ujhp  wdJurEHis,  tcho  aiU  percave  that  ac  had  pit- 
timaly  ^tended  to  his  firmer fanor.  We  are  at  nuch  gratified  by  Ihe  kind 
(Uprejitom  nfW.Z.at  indebted  for  hit  Amte,  niAtcA  m  tdii  not  fait  to  purme. 
Indeed  me  had  atready  began  iwA  a  plan  at  he  retommtadt  wiM  reiped  to  Ike 
mer^bulriHntnlt.  IVe  tkaU  gfee  Ike  earlleH  pottle  attenikm  to  the  mm$ 
Umical  Compedaon*  addrtatdlo  the  Etfifw,  andfar  wiUcft  Ac  Ihu  ntmta  Hi 
ocknomledgineHlt  U  the  mBonU  Autken, 


Digilizefl  Dy  Google 


ON  STYLE. 


TO  THE  EDITOR.  ' 

Sm, 

I  HAVB  never  yet  md  nith  hny  (lisscriiilion  llint  salisfics  my  mind 
with  ntpec^  to  tocai<  stti.e.  Grcn  llic  iiliiliuopliical  letter  uf 
TixoTIietra,  prinlcd  in  jour  second  Ntmibcr,  seems  to  be  too  gene- 
Tiil.  At  llie  same  lime  I  kno"  not  whcliicr  I  aliall  render  my  own 
apprdiension  of  Die  snbjcci  a  uliil  ini)tc  clear  or  diitirict.  But  with 
jour  permission  I  will  try. 

Style  I  consider  to  mean  Characlcr — and  as  clinraclcr  can  be  said 
~  to  be  Rppendett  to  rocul  music,  only  bjr  tlio  IndividoaKt;,  paiaioiif 
orscnlimcnt  with  wliiob  liie  ilitger  it  invested  bf  the  M)ng,tbo  nearer 
the  repTcsciitntion  appronchcs  the  rcatily,  tlic  more  perfect  is  (he 
style.  Style  then  is  also  dntni.ilic,  nnil  as  tiie  beau  ideal  of  llic  arts  u 
tiie  poiiLt  »oiiglit,  nni!  is  nlwnys  lieighlpncil  beyond  the  exact  rela- 
tion of  truth,  style  must  owe  it&  verity  and  force  to  a  warm  and  cul- 
liviiltd  iniiiginalion,  «hich  most  again  be  supported  by  organic  and 
tL'clinical  powers.  Thus  far  I  conform,  you  perceite,  to  the  deflni- 
lion  ofTiJioTMEUS;  and  iiidoed  1  sliall  probably  Ik  unable  to  add 
a  tittle  to  liis  general  classification,  though  I  bope  to  render  llie 
mtlter  more  plain  hj  detail.  For  1  agree  vith  faiiu  u  to  the  limita- 
tion vliicli  place  at  well  cliamcteT  iropows.  But  place  in  tbb  case 
makes  a  part  of  cluuacler.  In  style  there  most  tdso,  it  ibonld  Mem, 
be  an  nllmvante  for  nationality — inoli  as  appertains  to  the  cxpres- 
■iiiR  of  emotiona  observable  in  dtOerenl  conalriis.  The  Italians,  Ger- 
mans, French,  and  English,  have  leveralljlbciroinipccuItBries;  and 
wc  cannot  rightly  judge  of  style,  unless  we  are  intimately  acquainted 
with  tlic  manners  of  the  nation  to  which  the  singer  belongs,  nnd 
whence  he  has  derived  his  notions  of  imitation.  Thus  to  nn  unlntorcd 
English  car  and  an  uninstructed  English  mind,  the  gran  gusto  of  the 
Italian  school  seems  exlmvagnnt,  not  to  say  absurd  ;  nordo  we  come 
to  feel  its  beauties  until  we  have  been  very  long  accustomed  to  the 
energy,  transition,  nnd  especially  to  the  peculiar  carriage  of  the 
voice  in  nse  among  Itdians.  The  manner  of  tbe  French  is  still  so 
entirely  their  own,  tfaatotlier  nations  ga  Teijncar  to'deny  altosether 

TOL.  III.  «0.  Xll.  8  V 


408 


OR  mix. 


thnr  preleiauHis  to  vocal  science  or  abilifr.  Ths  Gomans  mait  be 
laid  to  owe  then  acqualnlancb  vitli  llie  ars  feehnica  to  the  Itatiaiu, 
and  the  English  draw  from  the  aamc  fount ;  but  all  are  tinged  «ilh 
national  peculiarilie«.  The  llaliani  arc  the  most  vivid,  the  French 
most  extravagant,  the  Germans  and  the  English  the  coldeitor  roost 
chaste,  in  their  ideas  of  expression. 

Perhaps  the  easiest  melliod  of  illustrating  our  subject  ttill  be  by  ft 
. comparison  of  the  way  in  which  the  mme  compoutioo  ii  given 
dlfiereut  singers. 

Tbakbzzani,  Bsaham,  and  Ambbogetti,  are  irithiD  oar 
ntemorj,  and  1  maj  perhaps  recall  particular  pointa  in  each  vbkb 
duoidate  something.  I  shall  take  tbo  expressive  dnat  of  Hoeabt, 
"  Cndd  per  che  ftC  ora,"  from  £igaro.  Tha  Cowd  Almmittt  it  at 
once  &  d^rmiDcd  sensualist  and  a  fine  gentleman— bia  maonen  are 
tinctured  with  the  warmth  of  his  naturall;  ardent  temperament,  with 
the  boldness  of  a  military  life,  and  with  the  "  proud  hnmilit/"  of 
the  rotative  aitualion  in  which  he  alands  to  (he  wailmg  woman  of  liis 
Countess,  Uic  object  of  his  tednctive  addresses  in  this  duet.  The 
notes  arc  full  of  all  tbeac  characteristics,  as  can  bot  be  discovered 
hy  a  sensitive  understanding  of  (he  roelod;  and  the  disposition  uf 
the  parli.  It  folkiws  then,  tliat  unless  the  style  partake*  aS  all 
thaw  BO  deddedlj  aa  to  imprcH  the  aevanl  notiont  vpen  the 
■indoftlwaiidtov  tl»  aingcriaao  far  If  dafioiMiL  Tveometo 
IB,  umljiii  of  aonu  portion  of  tbit  beaiitiftil  and  ezpntuve  com- 
pwjtiai-lhp  voids  CniAl  per  chejm'  ora  bespeak  the  artful  jet 
bcdd  oddmi  of  the  soldier  and  the  gentleman  and  the  lover,  while 
fiifmi  ilsifgm*  QUI  combines  these  with  the  sensualist.  Sighob 
Tb AMBZz A KI  conveyed  this  distinction  to  perfection.  His  lone  whs 
Bt  first  moderately  full,  but  round  and  voluptuously  smooth,  niiu- 
gliog  tender  expostnlation  (merely  sensual)  with  a  melting  and  pa^ 
■iDBBle  intifflBtion  of  his  design.  Upon  the  second  member  of  the 
solence  IhO'  notes  were  softened  into  a  still  more  exquisite  and 
nnkins  expression  of  intense  desire. 

Mb.Bbakaii  in  singing  these  passages,  (though  he  has  always 
been  a  slQgei  to  Uw  beart)  latied  piindpaUy  a  taok  of  that 
ddiqtfs  Bpprdien^,  iBteate  fteliog,  kdA  rich  expresaioa,  tlutt 
urtwd  Tbjuwuiani'b  manner..  He  cxecBtedit  vithmim  fiim 
rad  lest  teaclcnesi,  or  rather  wijfcont »  particle  of  TtfeptaaniBWi 
Bis  mafmes  vss  ooqijianitivelr  bard,  and  tbenfbsehe  nilaed  tbe^h. 


409 


SiOliOK  AiiVloeiiTi,  vrlio  cannot  tiqg  a  note  bat  depends  on 
Ilia  wtiag  locarr;  him  throagbj  and  nboM  fiUie  intonatioit  is  in  (hii 
opening  mote  pttioevUUe  pertiapatbaaiaany  thing bedooa,  gobtsji 
a  my  coaiM  Ides  indeed.  He  divealilheconipoeUion  of  M  nfln^ 
tneat,  and  goes  no  deeper  into  tha  notbn  of  CataU  AhKoriaii 
character  than  belongs  to  his  knrest  fbelingt.  Us  makes  Ui  ap- . 
praaches  wilh  the  vnlgai  tact  ofa  praotiwd  debattcbee  a  nailing  an 
artless  rnaid  of  all  work. 

Tbc  rest  of  (lie  iJuet  contains  onlj  modifications  of  Ibe  same  prin- 
ciples, lliough  perhaps  the  most  remarkable  point  is  "  sento  dal 
ctndenlo"  the  indescrii»ble  effect  conveying  volaptuons anticipa- 
tion  logelbtt  irith  the  aewe  of  present  mkccss,  that  Tsuuzaxi 
attained,  btttlraaaiMdiBKAHAiiaiidAiniuMBni  wen  e*flii  more 
ditlant  tkas  in  tbe  «(ber  panagei.  Tone  lanrt  in  all  caKt  be  tha 
mhiole  of  expiMrioii,  and  I  bare  somedroes  been  almoat  tempted  lo 
■adnoeitflflloKinneroodiScatioD  of  tone.  Tbambzxaki,  in  those 
portions  ttS  the  duet  which  bespoke  doubt,  eotreatf,  anil  passion, 
Iransmnled  his  tone  nicely— csactiT — aeekbg  only  to  poiutraj'  (bfi 
feeling.  Brahak  had  too  much  regard  to  the  display  of  art,  by 
which  his  tones  were  loo  nearly  aisimilaled  to  each  other.  Aimno- 
asTTi  held  the  singing  as  secondary  to  the  acting,  probably  from  « 
knowledge  of  his  vocal  impcrfeclion.  In  the  elocutory  part  he  a|H 
proaches  more  nearly  to  Trahezzani,  bulsetdoDi  singing  a  uotflia 
tune,  or  with  any  tfabg  like  tone,  the  great  chum  is  waotiiv. 

Saaaibilityiaaiiunilly  whidi  iaaasoep(ibleofniaByaDdgniatdi& 
fiHoMXi,  both  in  ifa  aaimtA  and  degteaa.  A  atnag  teptiUlity  ia  not 
dways  nor  indeed  cAen  the  molt  ddlcale.  All  the  Ihme  singers  I 
have  quoted  were  undoubtedly  persons  of  extraordinary  sensibility — 
bat  I  should  say  TaANBZzANi's  was  the  most  delicate,  Bbaham's 
the  stnmgest  and  applicable  to  the  greatest-variety  ofobjecls — Am- 
BROOBiit's  the  coarsest.  Hence  perhapi  the  ori^nal  direction  ot 
mind,  which  has  occasioned  such  discrepandes  mthedisplay  of  their 
ability. 

'  Now,  Sir,  it  appears  to  me  that  Tihothbus's  grand  diviuon  of 
atyle,  into  (he  great  and  oitMunenled,  dosa  not  embrace  this  apeoiei 
of  amatnry  pooion,  which  now  conititntei  perhapi  a.-new.l»t  'a> 
Maeotial  a  style' u  any  other  btanch.  Host  ofMooaa'asoagada- 
mandtlUinid  thiaimly,  andindeedl  shonld  betei^ited  to  Mume 
ytar  own  principle,  that  audi  i*  the  gericnil  cbarauliBriatic  not  an!* 
3h  S 


Digitized  by  Googic 


410 


ON  WFllX. 


eftbtt midifleipeoinofinitlDg,  which  is  nddraned  tapleatefn  the 
■Aambei,  bat  'dikb,  taking  the  derin  «f  Talnptnooi  wtamHoa  in 
ftftiMMW  to  aActions  for  ito  bain,  hat  beon  traiulated  into 
and  k  ibdMd  (be  eoential  ttjlo  of  oar  mmt  gacGenfal  aingwh  Nd- 
tber  doa  Bmovh'r  dirulan  of  the  several  tpecict  of  air,  in  hia 
"  LettefS  M  the  Italian  Opera,"  appear  lo  meet  nbat  is  reqnired  in 
tilit  ipeciea  of  expression,  wliicli  maybe  nlmoit  taken  as  peooliar 
lo  our  own  age.  The  passion  of  love  lias  neier  before  been  aade 
30  voluptuoualy  sensual  ii>  ]>i)Clry  niid  music* 

1  shall  next  assume  as  a  subject  the  beautiful  cantata  of  "jdiuit," 
as  sung  hy  Mn>  TAirou  an  and  Mr.  Braiiax.  Tbii  iideur^Mim 
oS  love  bt  lb  pnor  form — tbe  passion  bdiig  **  thron^certain  itnibMra 
wett'nfioedl"  ■  Vatobax'b  iMijbrniance  is  smooth,  dolioafi^  aad 
polishud  !•  IbeUgfaeat  degree.  The  omamentahe  appends  aie  of  the  - 
■ane.oaBtj  nar  is  there  the  slightest  intomiption  of  .  tbe  f^eneral  and 
leading  train  of  scnlinient  from  tlie  beginning  to  the  end.  He  has 
stadiad  unity  of  e^l,  and  has  alUined  it.  Mh.  Braham's  man- 
tm',X>n  lhec9nt(arf ,  is  passionale,  broken,  and  deformed  by  striking 
but  Bofex[weitire: differences  of  lone — dilli^rcnces  belonging  to  more 
boiHterooB  possioiuibat  destroj  the  pcnsivencss  oflhe  first  part  and 
tfaa  luxniiow  exallatitM  of  sound  to  nhich  it  b  the  object  of  the  com- 
poser (o  radune  and  ebtvate  the  miiuL  Hg  tberetBtr  mlriwalhe  yaad- 
chuactcnstics)  and  tbos  (iags  it  in  an  inferior  atjle.  If  on  Ibe  nw 
trary  ve  turn  (oHArDN's  Crcalioa,  and  exam iadthe  iqan iter  in  wbioh 
these  croiDcal  pciBOiis  girc  the  famous  recitntive, "/» tplmdorbn^" 
whicb  describes  the  creation  of  Ihc  sun  and  moon,  the  balance  will 
incline  to  Ma.BnAiiAM  in  the  Grst  division,  (the  creation  of  tbesmi) 
and  ill  the  last  to  Ma.  Vaugham.  The  force  and  fire  of  Ma.  Be«- 
ham's  manner,  the  piercing  I  rum  pet-loiicd  brilliancy  of  hu  voice,  and 
tJie  light-like  rapidity  of  his  invented  passages,  are  completely  de- 
scriptive. Here  Vavobah  bib  for  want  of  daring  perhaps  more 
than  from  want  of  natural  eaergy.  Bat  when  the  "silver  moon"  isfo 
be  pictured,  it  is  then  that  his  sweet,  soft,  sustained,  and  pare  (ones 
harmoniio  with  the (ceoe,  while  theefibrtBxAHAKmaliet(o reduce 
attenuate  and  iMotb.lbe  fnll  force  of  bis  nalodj  b  toeobviMs  lo  be 
aoBonmo^dad  to.  that  case  and  flow  vhidi  tbt  auditor  priiHuily  n- 
tidpataa  and  desiici.  The  ndlance  itill  gfam  apon  the 
Here  too  ia  nwtt  obaerrable  the  oxaggeiatloa  of  naaner  wbiofc  is 
gtiierated  in  tbe  (hetli^  is  enmtitUy  dnmatw,  and  whicb  the 


ON  KTVLE. 


411 


oicheitro,  entl  parilculatlr  llie  sacred  cvchestrs,  if  I  miiy  use  sucli  a 
lernif  wUt  not  be«r<  .  Wcftdoa  UKContrary  tbaL  VAuoHAii'a  sober 
cluuUtj  u  in  better  U»t« — Uie  fact  is,  the  aympalbj  betiTMii  the 
audience  ud  the  linger  uMverbiriMa.m:  endangered;  wliilehow 
mr  Bkaham  ii  einging,  vheii  hii  oooutsnnlljr  viideiit  biirata  ate 
put)  theie  h  neverllieieH  &  tmutMat  apprelienion  ortbe'samere- 
cnrrence  of  coiutiAiRcd  fiwcse  wbtob  noTer  learat  the  mmiI  tranquil  for 
a  moment.  He  tlierefinrc  cxaggerales  tlyle.  "  The  SoliSe/i 
Dream" — '*  Comfort  ye  nijf  Pfopk,"  and  "Lordnmembrr  Diivid," 
arc  alt  marked  bj  the  same  differenccK,  and  tbe  advantage  all  lies 
on  the  side  of  Vavguah.  "  Deeper  and  deeper  stiir~"  Thou  tludl 
dash  them,"  and  "  The  Batlte  of  Ihe  Angrb"  exhibit  Bbahah'i 
supremacy,  because  these  ore  of  stronger  expretaion  ;  tbe  passion  is 
BO  ialenie  that  the.  mind  readily  fulbws  Mr.  Bkauam  into  the 
deptiia,  whither  he  sod  he  atone  can  iMd  ui.  Tbe  atyle  U  therefore 
better,  beoune  more  <A«i««teri>tic. 

There  is  no  EngCtsh  singer  nlire  wito  can  convfey  even  ft  'reinole 
idea  of  (he  majesty  of  "  /  km^  that  my  Itedeemer  Ihelh."  Mm 
Stephens  is  too  rich,  too  smootli,  too  level.  Mm.  Salmon  wanla 
lire,  feeling— every  thing.  Maka  inrcitcd  this  song  wilh'a  gran- 
ilcur,  a  solemnity,  and  a  dignity  that  were  truly  sublime.  She  was 
so  emphatic  in  her  diction,  so  powerful  in  concentrating  the  force  of 
her  voice  and  the  energy  of  her  manner  upon  parliculnr  words, 
the  whole  moved  wUh  so  majestic  a  gait,  as  to  leave  an  indelible 
uripiession  npon  tbe  tntnd  of  the  hearef,  wlueh  lime  cannot  efihce. 
If  ui  Stzphbhs  is  fall  and  tweet,  but  there  ii  no  diitisclkNi,  ns 
mnrkcd  ihelorical  or  pathette  accentoalion ;  the  wbtrie  ii  too  level. 
Hnt.  Salmok  warbles,  and  in  proportion  as  she  Is  wanting  in  force, 
fire,  dignity,  and  pathos,  so  far  is  she  distant  from  tlie  high  auc- 
tions of  this  inspired  air.  Inanmuch  (hen  as  iKrfh  these  great  Nngent 
fiill  to  convey  the  character,  insomuch  they  may  be  said  not  to  bate 
the  style,  and  as  relates  to  "  /  know  that  my  Eoleemer  Hveth,"  they 
can  be  said  to  have  no  style. 

The  dcRcieucy  of  both  appears  to  lie  in  want  of  drnmatic  concep- 
tion and  erecution,  in  the  slumber  of  llii^  im.-ii^i  rial  ion,  or  in  tlii:  mis* 
direction  of  the  powers  towards  Hic  iiiijiii^Eioiinti^  di.^plny  uf  l!iu 
Kotiment.  Miss  Stephens  is  always  chaste  and  pure  und  English. 
Maa..SAi.liaH  is  always  sweet  (deliciously  sweet),  ami  her  facility 
fiudjiatest  Bat  the  style  of  the  rorroei  i«  somewhat  cold  and  lifdess. 


413 


ON  STYLE- 


and  rarelj  if  ever  rifei  beyond  plain  aarratire.  Tbe  olhei  latljr  has 
no  style  al  all,  6r  I  will  defy  bcr  wannest  odniint  to  inpvle  any 
thing  like  dnnctor  to  any  aDog  aings.  Onuaenl,  u  die  ap- 
pliet  it,  ii  not  ohancter— rrlmtmflr  may  be  aaid  at  to  tbe  pecolfaiTity 
o^tbe  graces  tbcmiclm,  or  (he  manner  in  ^thich  they  are  appended. 
Maa-  Salnom  is  a  Tocal  iDstcument — beautiful  in  ita  tooe  to  the 
utmost  possible  d^^;  liut  there  ends  the  sam  total  of  her  attri- 
butes. Tbe  style  of  Miss  STepHBHS  then  is  ballad;  and  Mas. 
Salmon  hax,  I  must  repeat,  no  style  at  all,  twcaase  no  passion,  no 
chBTBCter.  Indeed  there  ii  not,  within  my  Icnowleilge,  any  English 
female  singer  who  can  now  be  said  to  hare  a  style  so  strongly  ntarlied 
ai  to  deseryc  tbe  name.  Hist  STBPHaNB  and  Him  Tkatis  ar« 
dielingiiished  by  purity  and  chastity ;  but  those  very  qnalitiet,  aa 
exhibited  ui  these  professors,  are  almoat  prooft  of  tbe  want  of  style ; 
fix  these  lenns,  so  taken,  mean  tbe  absence  of  the  force,  transition, 
and  limililud^  wbicb  are  marks  of  passion  or  of  character. 

I  shall  be  thought  perhaps  (o  iall  in  with  the  humour  of  the  times, 
and  to  bcafiivonrerofforeign  soIumU,  if  IpoinloutHAoAMB  Cam- 
FoaESE  as  the  lemale  possessing  tbe  most  legilioate  cluma  to  rtyfe 
of  any  linger  that  has  visited  England  for  many  yean.  Th'm  flm 
artist  produces  characteristic  effects  frocn  every  niAe,aiMoatw)latuig 
tbe  lawt  of  science,  and  without  the  coariciteis  or  extnvagaiice  com- 
mon  to  the  stage,  ffme  this  is  done  I  cannot  exactly  dewrilM,  but 
that  the  principle  reside*  in  the  command  which  tbe  miad  b»  over 
the  elements  of  exprtsalmi,  and  la  modeling  ibote  dementa  jmSj 
there  can  be  na  doubt  HAUAiiff  Cakfdrbsb  ia  s  wounu  fine 
oenSilnlity,  flne  sense,  and  flne  inanners— .the  fire  of  yonfh  !s  Irm- 
pered  by  experience  (allier  than  passed  away  with  years— which 
is  the  (i:ily  zpneral  clue  I  can  give  to  her  superiority,  for  it  is  clear- 
ly mure  inii'll'-ctnal  than  tectinirnl,  because  nil  tlic  English  females 
1  have  aliuUed  to  exceed  licr  liolh  in  natural  power  and  beauty  of 
voice,  and  in  executive  facility.  But  hear  Miss  Stephbks  and 
Mas.  Salhoh  in  recitative,  and  compare  tbem  with  Cahporese. 
The  parallel  would  not  hold  for  an  instant.  Yet,  I  apprehend,  ia 
recitative  as  much  as  in  any  thing — style  ii  displayed. 

It  should  seem  to  follow  from  these  premises  and  examples,  that 
style  is  by  no  means  so  eanily  reducible  to  a  single  denomination  w 
may  have  been  sapposed.  1  pmferBnown'i  elassiflcatiaR  to  Timo> 
THBDs's,  in  this  Ktpeot,  becBQw  he  sdmiti  a  diffierenee  acerndfaiS 


418 


with  tniy  (pecies  of  air.   But,  id  tratfa,  if  sljle  be  U  I  Dm  disposed 

to  denominate  it — character— then  the  passion  or  the  sentiment  is 
the  only  measiire.  There  is  a  atyle  of  angei — grief — love — disclaia 
— in  shortt  of  wlialcvcr  the  sentiment  dictates.  And  this  I  esteem 
to  be  the  &ct.  Those  aSbctions  which  are  lofty  and  demand  dig- 
nity of  conception  and  mnjesty  in  their  expression,  may  indeed  all 
Ik  called  the  great  style — but  under  what  head  are  yre  to  class  purely 
amatory  songs  or  songs  of  narrative  interspersed  with  pathos  ?  "  Old 
Robin  Gray"  for  instance,  is  called  ft  ballad)  ^etl  shonld  expect 
as  much  from  the  pathetic  powers  of  K  ainger  in  fLiiair,  as  in  "  Fare- 
well ye  limpid  Springt,"  though  addrmed  to  lower  subjects.  Again, 
in  the  old  and  beautiftd  ballad^  "  Oh  Ifamtsff  wi&  thou  gang  mtk 
me"  aatyle  is  lequind  vhEob  oaoiiotbe  called  (ho  style,  but 
vhicb  yet  deotandi  iweetiwti  and  pathos  in  as  high  a  d^^  as 
any  song  I  know.  The  distinction,  then,  should  seem  (o  lie  in 
the  objects  upon  which  the  affections  are  employed,  rather  than  in 
the  affections  themselves.  "  Sound  on  alarm"  in  Hahdbl's  Judat 
Moccdxau,  and  "  Love  sounds  the  alarm,"  in  his  Acis  and  Galatea, 
are  so  nearly  of  the  same  cast,  that  they  have  como  to  be  considered 
as  of  the  same  style ;  yet  the  one  is  patriotism — the  other,  love  firing 
to  valour.  The  one  character  is  the  leader  of  a  nation— the  other,  a 
swain.  These  diSeiences,  minute  as  they  are,  originate  a  dis* 
tinction  in  (beatyle,  which  would  I  Ibink  be  apprehensible  to  a  per- 
son having  a  delicate  sensibility— they  would  be  particnlarly  so  to 
the  mind  of  one  man  who  was  deeply  susceptible  of  a  passion  tar 
glory,  and  of  another  capable  of  romantic  attachments  to  the  lex. 
In  the  former  instance  I  imagine  tliis  conception  would  be  displayed 
by  B  loftier  bolder  port;  in  the  other,  tempered  by  a  irnrniih  and 
occusiuiinl  interspenions  of  inlerisc  tenderness.  Pcbcbll's  famous 
songs  of  "  Mad  Bes$"  and  "  Let  the  dreadful  Enpnet  of  Eternal 
ttill"  wander  into  all  the  wildness  of  insanity,  from  passion  to  pas- 
sion—Ihey  inolnde  therefore  every  species  of  style.  Indeed  "  Mad 
Beu"  ini&glei  the  highest  and  most  dignified  eSbctions  with  the 
lowest  and  niost  ridiculons  or  at  least  most  pitiable  olyects.  Take, 
f<»  initaiue  the  lost  lines : — 

"  Who  is  content, 

Doth  all  sorrow  prevent ; 

And  Bessjin  herstraw, 

Whilst  ftee  fkom  the  lav, 

I*  her  Ihoughu  U  ai  great  a  a  king !" 


414 


OK  S^VLE. 


Who,  (ben,  Blinll  reduce  diiaiong^ta  onitilcnominstjDn'di  to.^^? 

The  furllier  proceed,  tlw  raOR  minute  Ihc.tliilincti^na  ^  ify^ 
find.  It  Is  upon  nicti  malcriala  tbat  imagination  imrtia,  and  U,l))i|^ 
be  obdoiis,  tliat  the  more  delicate  that  racally  is,  the  mpte  refii^ 
will  llie  style  of  the  professor  become;  and  as  every  wotd  is  aaidea 
mill  every  iilen  may  nilmil  of  n  ililTcrcnt  shailc  of  inlcrprelalion  pn^ 
expressiuii,  I  conclude,  Hint  tlie  liest  tlylc  is  that  whicU  imjwj^^e 
greolcslthareofcAanicffrormeaniiigtoa  compmition.  .  ^^^^^ 
I  am,  Sir, 

Yout's,  &c.  ■ 

ANALYSIS. 


TO  THE  EDITOR. 

I  TB  AN9MIT  jou  tlic  ciiiiliiiiiation  of  my  "  KcmaTla,"  wbich'trnii' 
bt^Uii  in  your  last)*  and  am  your'a,  truly,  '  ' 

F.  TV."  B. 

It  is  an  aoknowledged  troth,  and  the  opinion  has  been  maintained' 
by  every  sage  and  pliiloiophcr  since  the  world  began,  ihaladesircuf 
pleasing,  which  is  intimately  coiinecled  willi  (lie  search  nflcr  Imiipi- 
plneu,  is  one  of  the  most  active  principles  that  pervade  ilie  hinuaii 
mind.  Men  in  geneml  have  lo  niiicli  lo  perform,  no  many  tastes  lo 
please,  and  so  extensive  a  (lieatrc  to  act  iipan,  that  amid  tlii;  Ti'cissi- 
tadcs  and  disappointmcnls  lo  which  frail  mortals  are  subjected,  if 
some  such  motive  of  action  did  not  I>caT  them  up  and  guide  thcni'aa 
througb  this  sublunary  ivoTld,  they  wonld  be  in  danger  oF  losing  no^*^ 
only  all  relish  for  any  tiling  except  the  means  of  Eusiainin^  lifii,  bui  " 
vhat  to  lileratuie  and  Ibe  aits  would  prove  (till  tforec,  tliey'  njt^hl 
lose  alt' energy  or  anxiety  to  encourage  and  pmmoteihe  civilized  and 
aister  arts  of  poetry,  painting,  and  music.  In  no  profession  » tbla" 
desire  oTplcasing  and  distinguisliing'onnelvct  mote  necessary  than " 
in  thcmiuical;  Tot  tolhataneobject^notwithstandingallbis^ence^ 

•  Vrf.  3,  page  145. 


REMARKS  ON  INSTROHEHTlt  COMPOSERS;  41.^ 

hit  labour  and  toi),  mast  (he  musician  prc«a  fornanl,  if  iie  inlcnds 
that  hU  composilions  shall  obtain  "a  name."  Instriimcnlal  com- 
posers shoidd  parliculatly  follow  this  rule,  as  thcj  hari:  tiut  tlic  aid  of 
■weet  aod  expressive  voices  or  of  inspired  poetry  to  assist  their 
libonrs.  The  overtures  of  LuiGi  CtiBnrrBiNi  are  eminently  calcu- 
lated  to  illustrate  this  principle.  For  it  seems  as  if  the  composer, 
caitied  a«Hj  by  the  noveltiei  and  unexpected  beauty  of  Iiis  conccp- 
lioM,  MMight  no  otha  meanB  of  atlraction  than  what  might  Hon  front 
incb  an  ine^KDitihle  »oarce.  In  (ho  ■<  (hertun  to  Jnacreon,"  Qcct- 
taioly  oneoftbefinctt  ittstnaieiital  pieces  that  bos  been  written  since 
the  days  of  Hatdn)  there  are  perhaps  fewer  attempts  at  continual 
imitation,  fewer  parages  in  the  fague  style,  itnd  fciver  laborious  or 
abstruse  inodnlations,  than  may  be  found  in  tltc  symphonies  and 
overtures  of  his  admired  predecessors;  but  to  compensate  for  the  ab- 
sence of  these,  there  is  a  novelty  of  melody,  aa  elegance  and  bril- 
liancy of  effect  prevailing  throughout  this  piecv,  whicHcannot  faU  to 
rivet  the  atlentton  of  all  who  possess  the  least  taste  ia  out  art.  The 
finl  hams^  by  suslaJning  A  and  E,  thai  moving  to  the  chord  of  Df 
prepare  the  wi^  ibr  a  Terjr  aingnbi  and.  elTecttve  paas^e,  wbicb  ^ 
taken  up  Rlleraately  by  the  flauto,  violin,  and  violoncello,  between 
each  preparatory  sounding  of  the  corni,  until  the  movement  ends 
with  the  dominant  seventh,  in  full  harmony,  by  the  whole  band. — 
Nothing  (to  loot  ql  tdc  score)  can  possibly  be  more  simple,  and  cer- 
tainly iwthing  can  be  more  cfTectivc;  it  is  Ihe  liarbiiiger  of  good 
things  to  the  allegro  movement  tliat  I'ulloMs,  coinmencing  upon  one 
note  only  by  the  bass.  At  the  end  of  two  b.irs  llicre  arises  a  very 
simple  passage,  which  may  be  called  the  subject  of  the  overture,  as  it 
ii  beard  thronghout,  until  nearly  the  close,  Bllcrnaling  from  one  in- 
stnusentto  another  iu  a  very  extraordinary  manner.  The  long  con- 
tinnatioa  of  the  pi(i»o,  and  thegradual  accumulation  of  tbecrerceruAfj 
an  strOdiigly  dispht/ed  in  the  first  50  bats,  and  when  th6  climaxar* 
rifca  hf  the  fall  bnnt  oTUie  orchestra,  no  doubt  can  powibly  lemdn 
on  the  mind  of  the  scientific  heater,  that  onr  author  is  a  man  of  snpea 
riot  abilities.  1  would  point  out  to  the  stndent  a  beautiful  passage 
towards  the  end,  marked  in  Bbvguier'i  adapted  duet, "  Laiicatio" 
as  a  delightful  contrast  to  the  spirited  and  brilliant  ones  that  precede 
and  fcdlow  it  The  educated  musician  would  discoTcr  a  gtmt  simi- 
larity to  MozAni*s  style  in  this  part— it  is  tender,  graceful,  and  in 
the  true  ■'chiaro  oscuro"  of  harmony,  a  pnssage  bearing  strong  tndi- 
VOL.  III.  HO.  sti.  3  I 


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I 


lir>  i!EM.\RR=  iiv  iwrnr MENTAL  coMrosEHs. 

cation  oriliO  cli'gnul  raitid  of  Us  aiillior.  Ckeruiiini  has  -written 
Ecreral  oilier  opsras,  Sec.  Ilie  ovcifarw  Id  ivliiuli  m;iy  ba  considcreJ 
neatly  equal  in  metil  (o  Aiiiiri<riii,''  und  are  ivoll  known  iji  tlic  m<i- 
«Cb1  iTorid — tlie  "Les  deux  Journees,"  Lodoiska,"  "Oes  Abaice- 
rages,"  &c.  Of  these  the  first-mentEoQcd  b  considered  the  best 
In  the  fiist  movemeat  there  are  some  peculisH^  felichoHs  passages, 
sack  u  the  fint  six  ban,  at  the  seventh  bar,  where  the  basses  take  a 
salopaisBge>)eadbgdownto  C^tandlliepaMageiDarlEed  "eretcewfa 
poea  a  poeo"  leading  into  Iho  allegro.  There  are  eome  uncom- 
mon modnlations  brought  abont  witb  great  sinplicitj  from  A  minor  to 
G  with  one  sharp,  at  the  SStli  bar  of  this  movement,  from  B  to  (by 
thcscvcnlh  upon  A)  ondtonaids  the  end, iv  here  Ibc  octave  passage  OO' 
cuiB,  beginning  upon  B.  He  has  managed  llie  conclusion  very  abl^ 
by  acccleralirg  the  lime  (marked  "  Pin  Slrelto")  upon  that  passage 
uUicIi  wasliunnl  in  tlic  iint  iiislnnce  in  allegro,  a  mode  of  producing 
cni'ct,  in  ^Iiicli  I  pcrri'Lvchc  has  been  imitated  by  other  composers. 
(See  "  BnimowEs's  Overture,"  performed  at  the  Philharmonic.) — 
There  is  a  great  portion  of  musical  coloniing  obserrcd  Uirongbout 
**Zies  dao!  Journees,"  to  wliicli  the  natural  brillhlooy  of  the  key  in 
trhichit  isaet<E*)  in  no  slight  degree  contributes.  *'Ladaaki^^  has 
to  contend  vith  disadvantage  against  the  showy  and  beautifol  oter- 
ture  to  that  opera  by  KannTZBa,  which  all  the  amaCeurs  hare  been 
accustomed  to  applaud;  bnt  yet  in  many  respects  itmast  be  owned, 
comes  out  from  the  contest  with  credit  and  reputation.  There  is 
something  of  mannerism  in  the  second  movenicut  of  llits  piece,  com- 
pared with  the  second  movement  of  "  yf  nnrrcwi,"  rot  in  tlie  notes, 
but  in  the  style  of  the  passage,  bat  which  may  be  excused,  from  the 
peculiar  novel  cflcct.  Good  modulalions  arc  to  be  found  in  thh 
movement  to  which  I  allude,  particularly  the  passage  begun  in  A 
minor,  aReiwnids  repeated  in  A  major,  and  that  part  where  a  succes- 
sion of  chords  begin  upon  D,  (Page  7,  line  hi,  of  Cbakbb'b  adap- 
taUon**  Piano  Forle  Journal,")  in  which  the  composer  has  tdteiedthc 
Osnally-received  roles  Ibr  accent,  by  placing  it  for  ban  in  snccesuon 
upon  the  second  part  of  the  bar.  Onr  author's  tact  appears  to  lie  is 
tliat  ingenious  distribution  of  pnitlcalar  detached  passages  to  the  »e- 
Tcral  instruments  he  employs,  which  so  much  disUngnished  the  great 
MoZABT,  and  to  Wiite  these  with  a  perfect  knowled^  ot  the  effects 
which  the  meohanioal  capacity  ofeacbls  fbund  produce^  willbeac* 
knovledged  as  a  considemblc  difficnlty  by  all  those  who  attempt  the 


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sbharks  oh  INSTBUHENTAL  couposers.  417 


UA.  We  bave  beard  the  epithet  "felicitons"  applied  to  Moo kb'b 
ideatvlilch  be  so  happily  uxprcsscs  in  liis  songs,  nnd  other  poclic  cf- 
fusions,*  willi  equal  justice  mny.  i(  be  given  In  a  musical  sense  (o 
tbat  pecnllai:  (rait  in  composition  just  mejttioiicd,  in  wliidi  CiiE- 
BttBIMI  excels  J  for  inthc  symphony  style,  the  simple  raeloiij  which 
is  produced  b;  one  instrument  is  oflen  obliged  to  give  nay  to  the 
compound  melody)  or  properly  speaking,  fhnt  harmonious  distribu- 
tion of  it  throughout  all  (be  parls  in  ivbich  sense  tlie  term  "  mel<)(ly"'1' 
is  noiT  understood  by  all  composers  and  writers  on  the  theory  of  music. 
But  in  the  overtures  we  have  liecn  examining  there  arc  a  number  of 
solo  passages  for  the  several  instruments — short,  but  very  altractivc, 
from  the  pleasing  nature  of  Uieiralylc,  and  from  the  relief  they  aSonl 
to  the  ear,  contrasted  witb  tbo  tutti  paria.  Persons  nbo  are  accaS' 
tomed  (o  attend  to  uotbing:  else  but  the  "air"  of  any  piece  to  which 
tbey  maybe  listening,  are  at  first  in  no  slight  degree  annoyed  when 
Ihey  hear  asccming  confusion  among  the  performers,  (in  such  passages 
Bs  may  contain  a  number  of  discords)  and  a  total  want  of  "air"  in 
many  others,  to  produce  that  pleasing  cficct  upon  the  car  which  they 
had  been  accustomed  to  in  pianoforte  pieces,  .tc.  but  if  tiiey  should 
at  any  lime  aftenvards  allain  a  knuwlcdge  of  nnisic  suilicient  lo  give 
them  the  smallest  insight  into  its  theory,  (hey  irould  learn  to  appre- 
ciate the  labours  ofthose  authors  which  previously  they  had  heard 
with  indifference,  impatience,  or  neglect.  I  have  beard  a  nell-eda- 
cnted  and  oennble  woman  say,  she  did  not  ace  tbe  beauty  or  the  bu- 
mour  of  Don  Quixote,"  another  person  has  «^d  he  would  as  licve 
bear  music  as  am/  cffter  nobel  and  a  third  avows  tbat  Molicte's 
dclightfal  comedies  are  quite  unintelligible  to  him.  The  £rat  of  these 
very  probably  had  never  read  that  inimitable  work  of  CEiivAHTBg' 

•  1  hate  allempted  to  disrovcr  a  few 
some  oftlic  finest  ilraDiHUc  acit  poelicul  h 
posers'— witli  what  suctxss  li;t  the  amatf^ur  iii^iiTini 
Corclli— Virgil  mnter— Allitri 
IIvi<lGl--M11taa  Paer— Ruliii' 

Ilaj'dn — Shikspeiro  llmsinl— Moliurc 

Mozart — Otway  Cberubini — Moore 

Per^olcsi— Popu  Colleott— Ossian 

Glacli^Danto  Wdih— Thompson 
Ciinarosa — Metail.isio  Jarkeoa — Ghenslolie 

i  flee  Uii.  Ckoicm'"  Iiilroilurtion  to  Thorough  Bas.i,  Sqicld's  IntrodQc 
tlm  to  Harmony,  and  CiLLcorr's  Muitoal  Gnunmar.  Allboagb  the  lattiM-, 
in  apparent  contradictioa  nysy  at  page  148,  SccmkI  Edilisi^  "  Two  or  more 
mebiUei  bean]  at  thr  ■amC'limc  fnnn  harimtny,"  thus  confoundbg  tbc  tcrnis. 


418  REMARKS  ON  insTBUHENTAL  COKPOSEHS. 


t^ffice  over,  a  neglect  absolutely  unpanlatiablB,  if  she  iotended  td 
jftafA  llj  wlut  nay  be  calkd  the  blue  of  vit  and  hmntm  scot  id 
«Miy  puge  of  tbe  book,  neither  bad  sbe  safEciently  infi^iDed  benctf 
«f  (be  ndifmloiii  kaigbtr-errantry  spirit  of  ibe  Spuiaid*,  utii^  the 
a.tory  of  our  <'  knight  of  the  noefiil  coantequic^  wu  writica  to 
expose  and  ridicule;  coiueqiiBatlyabeooitUiiotbeatrnljrfloapeUBt 
judge  of  its  merit.  Tbe  second  ppnmi  (who  I  beliere  Db. 
JoHHioNi  and  for  the  sake  of  irbose  panderoas  dicttoaaiy  we  are  inr 
clined  io  patdon  the  ferocious  ootiage  on  music  and  the  feelings  of 
ApoUo'a  votuieB,)  bad  do  sensibility  for  the  "concord  of  nrcet 
sounds,"  tbereiojre  wondered  wittun  himself  at  the  strange  inblnation 
qf  otlHis  «lu>  ooold  vrnndcr  amon^  the  mo^of  hanMmy,  SQlUtbe^ 
qi^htbenid  to 

U  Feel  its  genial  influence 
Kiudic  dead  fires  anew." 
'flic  tbinl  pciaoa,  il  is  very  evident,  kncir  bnt  little  of  the  French 
Icingwtgc,  or  he  nerer  vouhl  hare  exposed  hinuelf  by  so  graceless,  so 
tasteless  an  avonaL  But  notivitiutanding  these  dissentient  Toices, 
fbo^Uc  and  tbe  lover  ofrousiccnncontinue  to  receive  pleasure,  and 
that  of  the  most  exalted  kind,  ftoni  tbe  perusal  of  such  works,  or  from 
listening  with  never  sated  attention  to  the  "soul-stirring  spirit  of  bar' 
mony."  I  have  somewhat  digressed  from  the  sobject  of  these  rt> 
niarks,  but  it  is  with  the  sole  intention  of  impressing  opon  the  mind 
of  tbe  younger  amateur  and  student  the  very  great  necessity  of  con- 
tinued study — anxious,  unremitting,  laborioui  study,  before  they  cm 
become  competent  to  advance  opinions  which  may  in  any  manner 
involve  ^c  reputation  ol  eminent  or  respectable  authors,  and  at  the 
same  time  expose  to  the  more  experienced  their  own  ignorance.  Iiet 
i» ndum to Ghsbubiiti.  His  overture  to " Da  AboKov^t* the 
least  attractive  of  any  he  hat  written,  stiU  contains  many  iidabitidrie 
pnm&  of  tbe  ability  which  may  be  found  more  fully  displayed  ip  the 
othen.  If  uo  other  instrumental  piece  than  this  had  ever  emanated 
&om  his  pen,  his  name  would  not  have  bepp  so  great  as  it  is ;  there 
arc  several  detached  passages  of  sound  modulation)  lever^  moloi^ious 
streaks  of  light,  iheclTarts  of  the  inn  endeavouring  to  emerge  frmn  the 
somewhat  cloudy  atmosphere  ip  which  he  is  involved ;  bat  yet,  as  a 
whole,  it  will  not  satisfy  the  critic  pr  the  amaleor,  who  expect  £roin 
the  author  of  "AHOcrem"  something  superior  to  thoae  epheraenl  pro- 
^uctiou  nhich  am  peifbrmed  in  E^ghad,  called  ^gUsb  Opeiai,  and 


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BEHARKB  ON  INSTBUUENTAL  COHPOSBBB.  419 


to  wliich  (t  veiy  considerable  portion  of  scraping  and  btoiving  it  oRcH 
appended  b^nay  of  overture.  There  is  one  peculiarity  by  which  the 
modani  Geman  Bchool  of  harmony  is  distinguislied  and  separated 
ftOai  all  otbetS)  namely,  (he  very  frequent  pauses  that  are  introduced 
on  nbai  may  be  called  the  sweeteet  discordi,  such  for  instance  aa  tihe 
flat  9lfa  with  full  harmony,  the  extreme  flat  7tb,  or  extreme  sharp 
61h,  the  minor  5th,  &c.  These  are  peculiarities  also  perceptibk  in 
001  author's  works,  although  he  has  been  too  long  inFruM  and  Ildj 
not  to  loften  down  his  pieces  by  infusing  into  tbem  k  doe  proportioa 
of  Italian  sweetness  and  melody.  Beethoybn's  itthopenontflntlon 
of  the  GermaD  style,  fulli  rich,  scientific,  and  contain  mg  every  supe- 
riority Ihit  school  can  boast  of.  Chbbubihi's  style,  on  the  contrary, 
may  be  denominated  the  mixed  style,  scientific  enough  to  liare  re- 
ceived its  education  in  Vienna,  but  yet  tinged  by  the  more  melodious 
qualities  which  adorn  the  composittona  of  equally  faroured  natirea  of 
Italy.*  Many  pereons  have  been  heard  (o  regret  that  CsBBUBiHr 
has  not  obliged  the  world  by  the  production  ofBnentire"Byraphon;" 
for  instruments,  in  wbicli  tha  MHsnce  and  genina  ytt  nnderdoped 
Bugbt  appear  to  the  fntlod  adnuitage,  fi>r  in  a  more  elaborate  piece 
(ban  «c  yd  possess  of  bii,  tbere  wonid  be  fuller  scope  for  (he  dere* 
iopement  of  every  resource  of  his  art.  There  are  sereral  beantiful 
pieces  of  his,  io  great  repute  among  us;  the  "  £eiiei&iur,"  from  his 
mass,  althongh  rather  too  chtomatie  and  instrumental,  is  yet  a  very 
beantiful  piece.  Ejrery  ooe  knows  the  canone  "Perfida  CM"  a  sweet 
grace  fhl  specimen  of  this  species  of  composition,  which  is  fast  verging 
to  decay  amongst  us,  although  in  days  of  yore  a  great  musician 
tfaoi^ht  it  no  hardship  to  sit  for  hours  and  days  togetlier  to  obtain 
Hu  •olation  of  tliit  diScnltnuincBl  problein.  I  bad  intended  to  have 
inditdcd  CuBKSBTi  in  this  paper  of  lemark^  bnt  upon  consider- 
atlaa  I  find  it  would  occnpy  too  mach  room  in  the  next  number  of 
yaat  nriew,  probably  to  the  exclusion  of  other  and  more  impoitont 

*  Dn.BnnNET,  (of  whom,  by  the  way,  I  hayo  found  by  chance  areryweU 
wrilten  and  well  aufheiiticalf^d  iiiumoir,  whicli  I  intend  to  send  to;  laurtlaa 
ill  your  riiiscdlaiiy,  Mr.  Editor,)  sijs,  at  pai-e  79  of  his  4th  Tdnme,  "After 
a  rt'gubr  [K'tusikl  arid  txami  null  on,  tlic  first  musical  dnina  perfonned  at  Nsfitcs 
Ihat  I  have  bceu  Me  to  fiiul,  it  entitled  Aauir  rum  a  kgj^  COmpOMd  bydif- 
fereot  maatets  In  1646,  none  of  whose  names  are  recorded;"  a  reiy  cnrioni 
circumstance  ]n  the  hiatoiy  of  dramatic  exhibitions.  AaUiin  oow-spdsys  ore 
not  w  careless  at  tbdr  fane;  even  the  coupMers  of  quadrilles  are  set  loftb  to 
oar  riewui  the  Lurgeit  cbaiacteig! 


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jSO  B^ABKS  ON..IlfmniHENTAI,  COHFOSER!!. 


articles-  I  shatl  theidbre  defiir  it  antO  the  following  number,  wIieii 
I  propose  to  takea  general  sammary  of  the  merits  of  Clekehti  and 
Gkubr  ai  GOmpoien,  and  to  eHect  this  with  impartiality,  most 
summon  Dp  the  same  spirit  of  candour  which  jou,  Sir,  so  admirabljr 
^pl^ed  injoDi  "AntwertoMn.  Craues." 
June  3U,  1821. 


TO  THE  EDITOR. 

Sib, 

A.S  frcnn  the  coUieion  of  opinions  cmanaliDg  from  roflcclion,  truth 
is  elicited,  such  opposition  of  minds  will  frequently  find  admiwioa 
io  periodical  worki,  condacled  on  liberal  and  philosophical  piinci- 
pIcB.  Accordingly  the  very  first  article  of  your  Magazine  became  a 
gronnd  for  the  controveray  which  appeared  in  a  subsequent  Num< 
Wt; — it  b  not  Uierefne  m  thb  ptHiit  that  1  apsli^ia  for  obtruding 
litis  article  on  yoar  aHcnlioB,  bat  on  that  of  baring  already  oocih 
pied  a  gveatar  portion  of  your  iuteteitiDg  miscdlany  than  pnriiably 
the  cause  or  the  pleader  merited."  But  as  every  one  "  NuUiiis  ad- 
£clusjarare  invtrha  magistri,"  must  be  conscious  of  (liis  independent 
habit,  he  cannot  petliups  Lit  upon  a  belter  method  of  ascertaining  llio 
nature  of  Win  opinions  tlian  by  !;iving  tlifm  publicity- ;  for  if  he  be 
iiol  iiivi'lciiilcly  opiiiinlivi',  wnrlil  will  soon  cxlricalc  liim  from 
error,  liv  slu'wiii;;  bim  llu:  dilli.'icncc  between  pareiilnl  pailiality  ami 
imblic  o|iiiiiiiii ;  ami  sucb  correclive,  ifdescrvcd,  I  iv  i'il'l  fain  receive 
thranghfhc  mcLliuni  or^otir  equitable  publicatiiur :  however. 
Sir,  for  the  sake  of  controversy,  but  amendment,  being  in  the  ptinnti 
of  an  object  that  requires  more  time  than  I  can  afford  to  lose  in  the 
boaadleaa  region  of  reply  and  i^oinder.  The  present  artide.  Sir, 
ariies  &om  reOectioni  that  have  frequently  recurred,  and  vwy  fwn* 
Uy  on  the  attentive  perusal  of  your  last  Number^I  partimlarly 
nlladc  to  the  patriotic  essay  on  the  neglected  encouragement  of  native 
talent,  the  iliGlinctivo  and  animated  critique  on  the  performance  of 
MosciiELLBg  and  CataiiAni,  and  the  biograpliioal  sketch  of  poor 
Cali<coii.   Such  topics  naturally  lead  to  a  coriparaliTC  estimate  of 


•  No.  g,  psga  71. 


OH  THE  juar  OBJECTS  OF  msici  48( 

tndigenoas  and  exotic  talent,  and  on  this  head  I  venture  to  pnt  a 
qaestion,  to  whicb  the  aiunci  I  acknowledge  ii  apparently  obvious, 
it  is  this — has  our  national  character,  upon  the  whole,  been  most 
benefited  or  injured  by  the  importation  of  exotic  music  and  miiii- 
cians  ?  There  are  probabl;  those  who  would  more  an  amendment 
of  this  question,  by  gubsliloting  the  word  "  music,'  for  "  the  impor- 
tation," &c.  Sir,  at  a  period  when  almost  every  British  residence  is 
as  it  were  a  musical  instrument,  the  art  is  only  unimportant  and 
trivial  la  triflers ;  to  the  philosopher  it  is  an  afiair  of  moment,  and, 
for  the  sake  of  my  countrymen  and  coiinlry  women,  I  would  have  it 
subjected  to  tbeaevereit  test  of  the  sDundBst  morality.  It  will  ttami 
the  (rial  if  pore,  but  not  if  carriipled^  yet  gaM  U  gold,  howenr  it 
may  be  debased,  and  the  inttliuic  wotrth  of  mneic  Ii  imperlshatde. 
A  mudcal  age,  therefore,  is  honourable  or  base,  manly  or  puerile,  a 
sage  oca  itmplelon,  according  to  tlie  mural  cliaracter  of  the  art,  ami 
this  character,  as  it  applies  to  u^,  undoubtedly  derives  its  quality 
principally  from  aliens,  who  have  ever  been  the  prominent  objects 
of  our  patrician  patronn{;e;  but  I  confess,  Sir,  that  I  am  yet  to  learn 
in  what  rcspecls  we  are  dignified  by  (he  inlelteclunl  excellence  of 
our  musical  character,  or  wherein  nature  has  unkindlj-  gabjected  at 
to  the  necessity  of  musical  Impartatkni,  us  it  crotcheti  and  qmniif 
Vke  oiBDges,  or  tea  and  veie  exotica  that  on  BrttMi  groniid 
were  necessarily  feiced  and  nre.  Sir,  I  do  net  beiUatB  uM»t  that 
Briliah  genini,  nnpatmnlzetl,  snfrieeded,  despised,  and  derided> 
man  yet  tbe  oiwra  of  imnunrtality,  and  is  ioqiregiiated  witfa  tbat 
intellectual  magnetism  Oat  drew  a  Cos8i.ti  to  tbe  manw  of  n 
PvBCBLL.  From  the  time  of  H&kdbl  and  Farinelc.!  to  Ibc 
present,  we  have  continually  imported  annually,  or  bienially  at  &F' 
Iheat,  German  after  German,  and  Italian  after  Italian,  diversified 
occatioDslly  with  the  mutical  produce  of  other  countries.  What 
proportion  has  out  improvement  in  the  science  borne  to  the  coi,l  1 
Ace  not  tbo  mass  of  amaleuis  even  now  plunged  in  such  deplorable 
ignaimcs,  that  e|Aemcral  tiaah  is  Dniretsally  preferred  (o  snprcme 
exccOaitie  in  conposiUon  t  VfbM  honld  we  say  of  an  ago  com- 
moaly  called  literary,  pnfbttteg  tki  prodncfiom  of  Sternhold, 

HOPKIKS,  aildSlKPRBM  I>ir<IK,tOthOKOf8HAK£SFEAR,MlLTOK, 

and  JoHNioir,  or  SVm  Aitdmnleus,  and  ParacSK  R^iiaed,  la 
Oth^o  and  Ftim&e  JLost.  It  b  not  execution  nor  •ten  senfimeot, 
hbt  Intellect,  that  ii  fbe  proper  tmsis  of  musical  lurtion.  Ziegerity 


4tS  ON  TUG  JUST  OBJECTS  OP  MUSIC. 

of  fioger,  or  vocal  Tolubilily  are  secondary  objects,  and  musical 
education  that  is  not  founded  on  mental  improvcmenl,  is  at  best  but 
fallacioas  and  iroperfecl,  a  splendid  error,  and  a  crael  sacrifice  of 
tiraej  heBllh,  and  property.  The  mBrvctlons  executioner  smiles  at 
this  position—"  ©MirfrMes.'  delefabulanarraturf"  Yonr  pnpil  does 
wonders;  Katerfelto  did  the  same.  Where  is  her  mind  i  but 
she  ravishes  the  heart:  so  do  novels  and  romances  of  everj  kind. 
ExecntioD  I  dlow  it  tbe  child  of  indnitiy,  and  moiti  the  generooi 
eneamngBment  It leceivea.  Toihake  withthefiagmofboth bands, 
tritbaat  ciamping  tbe  simnltaneons  play  of  the  other  fingers;  to 
execute  teoUiS  as  if  llicj  ncrc  thirds;  to  sing  a  flight  of  rapid  semi- 
tonea,  interspersed  with  shakes  or  violin  variations,  are  miraculous 
evidences  of  human  poners,  and,  for  the  sake  ofemuloas  talent,  im- 
mortal be  the  records  of  such  wonders.  But,  Sir,  in  the  practical 
exposition  of  a  scaleofbeaoties  in  musical  composition,  selected  on 
the  Bonndcst  principles  of  the  best  taste,  and  arising  from  pretlincss 
to  sublimit;,  ivbere  nould  be  the  necessity  for  such  extmoidioarj 
powers  of  perfnmancei  Then  where  h  tiie  necessity  of  snch 
talents?  oi  vrhere  it  there  gratificalion  for  tliosc  performers  vrtio  can 
never  bope  to  approach  aach  rare  proGcicncy  ?  Sir,  in  the  present 
state  of  mndcal  afioin  (his  great  majority  must  "  despair  and  die," 
or  at  least  tetiie  to  nnioual  aolitude— for  Germany  and  Italy  bare 
done  tbdi  best  and  tbeir  worst,  and  mere  execution',  as  it  is  very 
pnqterly  called,  is'novr  the  sine  qua  nan,  the  indispensable  passport 
to  patrician  patronage,  and  consequently  to  that  of  the  gcnleel  apes 
that  tread  in  (he  footsteps  of  their  leaders — nay,  even  to  picbian  plan* 
dils,  for  vulgarity  is  ever  fond  of  the  marrcllous,  and  ocunsionally 
sympathizes  witli  the  dilettanti,  more  congenially  tlmn  perhaiis  the 
pupils  of  refinement  will  readily  allow;  and  rnggcd  minstrels,  un- 
taught EngUtk  minstrels,  will  somclimes  execute  those  graces  thai, 
In  the  dreamB  of  fiishion,  are  exclusively  exotic. 

Having  Sir,  ventured  to  advance  opinions  that  clash  with  the 
dictates  <f  (bat  august  body,  the  beau  monde,  I  leave  it  to  cwnpe- 
teut  and  inpattial  judges'  to  infoim  the  morical  WMld  vbether  any 
■tjile  oC  musical  compodtioB  or  petfiumanee,  whatever  be  Its  merits, 
oaghtton^enede  aU  others,  or  vhether  a  total  inseniiluli^  to  the 
charms  of  mnn,  taeigttic,  chaste,  and  sablime"  ^jdioilj,  is  the 
criterion  of  h^hly  impiorcd or  deteriorated  taste;  and  wheUier  as 
inwdinata  fondoen  fbr  vocal  and  instmmental  rapidi^  does  or  does 


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OK  THE  JVn  OBJECTS  OF  MUSIC.  433 

not  lend  tDlimdiloe4libfiiiensibili(3';  and  finallj',  irhathcr  nuuical 
petronnge  in  England  is  not  almost  exclusively  con  Quod  topnotioM 
pralieiencj  of  nonstroaa  and  foratgn  powth> 
And  now,  Sir,  to  avoid  tbo  riik  of  ofendiBg  Ihe  gnat  «  teeond 

time  with  an  Eaglisb  imihb,  I  belkve  it  will  be  expedient  to 

Mribe  myuir, 

Your's  re^pectrully, 

NOUINIS  UtfBRA. 


ON  ACCENT. 


TO  TFTE  EDITOR. 

Sin,   

TiiKitK  are  Tcwsiiiglc  poIiiU  in  t!ic  performance  of  iniisic'so  Ini- 
portanl,  ntid  few  {icrlinps  ofwliicli  llic  thcorj'  is  so  liltic  aiuldrBldod 
09  the  use  of  accent.  \Vc  emploj  tliis  esprcsaivc  power  as  llic  mil- 
lion speak  prose,  witliout  observing  it.  It  is  hj  some  conrourideid 
with  emphatis,,and  there  ars  few  (anatsan  especially)  who  naltf 
Vnaw  01  regard  its  value.  For'  accent  In  ila  most  enlarjusd  snuo  is 
time  or  measurCf  and  the  ear  In  tbi>  respect  most  be  formed  pnct^ 
colly  tend  technically,  (inechanicatly  if  yoa  please)  to  cflnpNhnd 
rightly  aixl  entirely  idl  Its  ^fects.  Such  Is  irtiat  tbe  Qctouuh  caM 
the,  gmmmaiical  power  of  accent.  Tbey  also  divide  thirt  speciei 
which  is  chiefly  conversant  about  expression  from  thi*  the' Men; 
mechanical  use,  and  term  it  rbelorical  ui  pattiutic.  Again  there  is 
an  accentuation  derived  froni  harmony,  and  wliich  is  introduced  by 
striking  antt  unexpected  combinations  brought  in  to  enforce  par* 
licular  parts  of  a  composition.  All  these  are  musical  acccnls,  ci^n- 
sidcTcd  separately  and  apart  from  the  union  of  notes  with  wordn, 
which  ag^in  lead  (o  new  and  diverse  modifications,  of  wliich  it  is 
my  pRMiat  pw^WM  to  limt  aonairiiat  in  detail^ 


TOL>  111.  NO.  XII. 


Dn.  CaI'Loott,  in  bis  aduiralile  Gmomar,  bat  conuilfiied  tUf 

maltcr  with  his  usoal  perepiciiitjr  nnti  precbian.  I  mahi:  thb  ao 
kriin\  Ifdijinnil,  btcausc  I  might  otherwise  seem  lo  have  borrowed 
wiLluiul  aihiiiision,  what  must  be  tiie  foundation  of  my  subject  from 
liiat  excolioiit  man,  whose  memory  is  venerable,  not  atone  as  a  rami, 
cian,  but  because  lie  lias  Applied  so  much  of  wliut  is  truly  philoso- 
phical lotlie  explication  of  his  art.  He  lias  shewn  Hint  Ihu  phce  of 
the  accent)  in  common  time  or  measure,  is  upon  the  first  and  third 
Bote^  and  apon  (be  first  note  of  triple  time.  Ue  bas  also  demon- 
■tmteil  tlie  efibft  of  cfau^tng  the  petition  of  the  bar,  thnnigli  tlie 
accent,  upon  the  meaning  of  a  passage.  He  has  dlstrngnbbed 
between  accent  and  emphasis,  and  has  noted  the  mutations  in  qoan* 
tity,  ns  it  were,  which  the  different  placing  of  tbe  bar  prodnces.  To 
Dr.  (JaliiCott,*  tberefore,  I  refer  all  thii  part  of  the  subject 
What  I  purpose  more  particularly  to  aay  is  gathered  from  other 
sources,  or  suggested  bj  further  thought. 

The  French  Encyclopedists  enumerate  among  the  means  of  nOcct- 
jng  the  accent,  the  recnrrencc  of  n  high  or  low  note  at  liefinile  inter- 
vals, anil  the  introduction  of  accidentals.  The  Latin  ond  German 
writers  (Icon  (lie  apjiogiatiira  also  to  ben  sort  of  grammatical  accent. 
A  full  harmony,  wlien  resorted  to  for  the  purpose  of  strengthening 
any  particular  impression,  lias  (as  I  have  before  noticed)  been  rec- 
Itoned  B  species  of  accent  But  the  writer  I  have  before  quoted  dis- 
tinguishes all  other  methods  of  enforcing  a  passage  as  empkasii,  not 
•OOent,  when  the  force  falb  upon  the  weak  parts  of  the  measure. 
Thus,  according  to  Da.  Callcott,  accent  is  continually  present, 
and  constitutes  the  rule — emphasis  is  the  exception.  Accent  is  the 
constant  and  fi.ved  rhythm — emphasis  the  power  that  dispenses  with 
or  alters  the  succession,  or  releases  the  [icrformer  fiom  all  aKenfion 
to  its  laws.  Khytbm  is  in  fact  the  grammatical — emphasis  the  rho 
loricaland  pathetic  accentoftbeGcrmans.    But  it  seems  to  me  (hat 

*  Dr.  Callcott  docs  not  seem  to  haTC  noticed  the  acceatnation  of  the 
measure  of  five  notes  or  times  in  a  bar.  This  was  we  bellerc  employed  by 
Db.  AhnO!.!)  in  some  paiilominie  music,  anil  lias  been  since  used  in  (he  Gipsry 
Glee—"  0,Tiho  hassccii  Ihc  Millir'i  tVifi,"  liy  Mb. Reeh:,ui)oii  Ihi- iHSsagc, 
"Come  slidn  gour  cheek)  tnUh  nut  ar  berry."  Uutthe  most  classical  lulhorily 
b  Ms.  Clementi,  who  adopts  it  in  his  late  Capriccio.  The  accent  hero 
lies  npoD  the  first  note  and  tMrd  or  foiirth.  Tliis  appears  to  be  3  compoaile 
measure,  unlthig^uidj.  The  aecenl  nay  therdbie  wy,  sccordisg  *s  Ite 
composei  designs  (he  one  or  other  to  predomiaale. 


ON  ACCENT. 


(lie  Gcnnan  division  is  the  best,  because  wlien  music  a  ajipliei]  (o 
words,  tba  litctoticaX  accent  shoulii  appear  to  icfct  to  the  dUposition 
ofnuadawilli  legaid  to  sfllabic  qaanlit;,  and  the  pathetic  to  (heir 
pawn  of  expression.  Empbasi^  can  be  nothing  but  the  enforcement 
ofa  void  OT  iTords.  There  arc  to  my  apprehension  three  clear  and 
distinct  divisions : — 

1st.  Accent  on  (he  conlinunl  recurrence  of  notes  more  marked  at 
certain  and  lixcd  intervals — as  for  instance,  the  first  note  (or  thesis, 
flic  fullmg  af  tliG  hand  or  beating  time,)  of  the  bar,  and  the  third  (ui 
arsis,  llic  Hfliug  uflUe  hand  in  beating  lime,)  incommon  time.  This 
rcguiatcs  llie  rliyLlim  or  perpetual  rule  of  measure,  ivhich  becomes 
neceacaif  by  babitnal  culUvation  to  the  ear,  and  forms  a  pleating  if 
not  SB  ioditpeiuable  disposition  of  the  miuic. 

5.  The  Eltetaiical,  vhioh  baa  regard  to  musical  or  if  lli^no  feet 
vben  oola  are  combined  with  nords.  When  the  rhetorical  is  at 
variance  with  the  granuiuUica]  accent,  tlie  composer  has,  it  may  be 
almost  certainlj  pronounced,  committed  an  error. 

3.  The  Pathetic  accent  bestows  the  emphasis  and  expression,  em- 
ploying oil  the  means  which  variety  of  tone,  its  augmentation  and 
diminution,  as  well  as  changes  of  tlic  grammatical  accent,  by  pro- 
longnlion  or  abridgerocat  of  the  duration  of  notes  (tempo  rubato), 

In  the  cxecnlion  of  modem  solos  ibr  all  instruments,  far  greater 
liberty  appears  to  be  indulged  to  performers  than  by  the  old  masters. 
Much  of  wbatisBonr  esteemed,  and  moat  justly  esteemed,  very  beau- 
tiful GompositioD  (fi>r  the  piaao  ibrte  especially),  vonld  be  found 
duU^  Ulelesi,  and  unmeaning,  vere  it  not  for  the  constant  and  almost 
unlimited  license  with  respect  to  time  and  transition  wliich  the  player 
assumes.  It  has  been  repeatedly  and  truly  observed  in  your  reviews, 
that  it  is  now  nest  to  impossible  to  judge  of  the  intended  cITecIs  of 
wrUlcQ  notes,  and  that  indeed  nothing  short  of  an  intimate  acquaiii' 
tance  with  the  style  of  the  individual  master— nothing  short  of 
that  knowledge  gained  by  observation  and  e:cpericncc  as  to  the 
mode  in  which  he  himself  would  execute,  can  enable  one  to  form 
a  light  undetstandingof  the  passage.  Thus  the  performance  ofsncli 
music  becomes  almost  (radilional,  and  most  continue  to  be  so,  unless 
a  more  fixed  and  determinate  nomenclature  of  expression  lie  con* 
Irived.   It  is  however  true  that  the  music  of  particular  masters  still 


ON  ACCENT. 


depends  upon  a  peculiar  acccn(ttation*— so  true  il  it  tlat  n  cuUi- 
vated  ear  ncTer  entiietj  lotra  lis  alteaUcm  to  r^hritj  t^tbyOua.— 
I  am  completelj  satlafied  tbat  wben  once  the  ear  h  tnfnd  and 

aGCiutomed  to  the  beaattful  effects  of  mennre,  H  feels  poignanQy 

cvcrj'  casual  Jcvialion  from  strict  time.  But  we  must  bare  become 
Bcnsibic  to  the  beauty  of  rccarriiig  accents  before  (liis  is  uirileralood — 
and  when  once  understood,  it  is  never  furgotlcn.  Not  to  bo  sensible 
to  ilscfTects,  is  simply  ignorance.  Jjike  knowledge  of  every  other 
Kort  however,  it  is  seldom  duly  cslimaled  until  acquired.  Hence  il 
is,  we  Ecc  ninaleur  singers  (ivlio  arc  rarely  confined  by  strict  accom- 
panists) wandcrihg  so  continually  from  the  measure,  prolonging 
notes  that  areagrcabic  totbcmsolmor  fiU;Ue(otlieirvoi(Sa,<IttelHag 
upon  words  they  think  emphatic^  stealing  tiitn  fat  tin  fornratton 
lone,  and  iitdulguig  in  all  the  hMU  which  AvoCT  the  lore  of  ees^ 
BO  natuialto  OS  all.  But  Ihi^  I  repeat,  !b  sheer  i£nt)Rutce,Kl«i  cn- 
ried  to  any  thing  like  excess;  and  the  pnwF  {i  tlii>— do  we  ever 
hear  such  illimitable  license  granted  it>  proibssora!  Yet  their 
pcrfbrRiancce  arc  the  standards  of  excellence.  If  effccls  were 
really  lieigblcneil  by  tiic'dcstr action  of  rhythm,  they  of  all  otlicts 
ivould  be  the  first  to  seize  upon  and  assert  the  privilege.  But  here, 
as  in  other  cases,  the  exception  establishes  the  rule.  Hiey  do  it 
occasionalli/.  It  is  Ihcii  in  the  judgment  with  which  these  ooCBsion* 
are  taken,  that  real  science  displays  itself  in  reconciling  the  preroga- 
tives and  powers  oftbc  imagination  with  the  laws  of  art. 

In  niQsic  descriptive  of  physical  objects,  accent  bas  its  moat  com- 
plete ell'ccls.  I  should  instance  the  well-known  and  often-quoted 
example  of  the  symphony  sai  accompaniment  to  "  Hash,  ye  prrlly 
tearbling  ehiAr"  in  Hahobl's  Acb  ami  Gidatea,  wbere  the  chimp* 
piog'of  birds  is  imitated  wHb  the  greatest  ezBctltmle  b;  the  mifbra 
recurrence  of  the  accent.  The  galloping  of  horses  bat  been  in  die 
same  manner  successfully  pictured  by  Cimarosa,  in  "Prio  dtespatiH 
in  del  FabTora"  and  after  him  by  Ksllv,  in  a  trio  in  Blue  Beard. 
II Avon's  Creation  is  the  very  exemplar  <^  this  power,  ahnent  from 
beginning  to  end.  But  he  cerlainly  employs  emphasis  (in  Dk. 
Callcoit'b  sense)  to  the  same  purpoaca  as  ncccnt.  Here  iig.iin, 
however,  the  exception  comes  in  aid  of  tlje  rule. 

I  may  conclude  out  discussion,  by  noticing  the  eficcls  of  accent  in 

•  Tfce  cDiniHifilioas  of  Mh.  B4u  are  remukBhle  In  this  print. 


□  Ignzed  by  Coogle 


OH  ACCEXT. 


4^7 


dance  (unesaud  national  aiis.  In  llie  first,  accent  is  nil  in  all.  la 
the  last,  I  am  iniluced  ia  suspect  lliat  much  of  wliot  mokes  a  tiuie- 
naUoiial  is  to  be  traced  to  its  accmt.  Of  this,  mankind  mem  la  bd 
BO  convinced  in  n^id  lo  ^ecb,  that  nationaiicy  in  nielody  f> 
Kxdved  hy  oonnKHi  comeat  into  tbis  i>iii)ci{^  attd  «e  lay  of  evfty 
one  who  wm  %  Btfioul  Mdau»>  tlwl  he  bai  Ae  SaatA,  Qemw,  «r 
F^eiMihacoen(^«tbefiii0aitulaiu»iur  biEt  Butupoatliit  pi^I 
may  perhaps  IrouUe  you  fliitber  at  iMm  iiitwe  tine.  My  present 
object  is  to  draw  altention  to  tbe  nature  of  ilcotntt  and  to  the 
necesaity  of  giving  it  anoK  strict  T«ganl  thu  is  ctnomoa,  paitioor 
latly  among  amatenrs.  Nor  b  the  hint  abralately  worthies  to  many 
modern  compoieiB,  particularly  (I  think)  to  those  who  write  fot 
single  instraments,  since  I  am  well  conTinced  that  much  of  thieir 
maiii:  is  in  danger  of  faeij^lo«t,sosuon  as  the  traditionary' comBllui* 
caUoa  of  tbe  hmimbi  in  wUch  they  themselves  pcrrotmtiwji  ovilr 
CMnpcntnnS)  shall  be  no  longer  kept  up. 

X  am,  Sir,  yotic't, 

PB£C£NXOK. 


TO  THE  EDITOR. 

Sib, 

In  theemineaFKOTnTeniUonipMm^ii^Hciil  ksdiome  Um 
ago  with  a  friend  high  ia  ths  piiftninn)  meation  ku  aadBtif  the 

great  eflect  ^ich  migbtbe  prod  nood  were  it  practicable  lohave 
inslrmuMts  whose  scale  should  extend  an  octave  below  the  present 
donUe  hats.  For  my  own  pari,  Mr.  £dttar,  I  see  no  insuperable 
difficulty  wfatch  should  pievent  the  construction  of  a  double  double 
bass.  It  might  be  urged  that  the  inatiumeBt  would  be  too  unwieldy, 
and  that  even  were  sach  an  iaalrumeilt  AadC)  it  would  bo  next  to 
impossible  lo  play  upon  it.  I  own  tUcbean  formidabte  objections,  but 
labour,  Mr.  Editor,  wiUgoagn*!  mj  te  the  iMBOfRl  of  ono  at  least 
of  the  difficultiea— that  •Ttbe  pedbnimMi^wbicb  labotut  night  be 
MiideMdiliakte  t^'ncdnmatl  WULlbe^NM(«tnMlu» 


ON  A  DOUBLE  DOUBLE  BASS. 


of  the  double  bau,  the  [icTfiirtncr  is  tteqaently  obliged  to  move  llie 
whole  hand  in  pmsing  frora  some  notes  to  otben.  In  Uie  douUe 
double  boss  the  distance  from  one  note  to  anotbei  will  of  conne  be 
ilill  greater,  and  conscqacntljr  more  dtfficnitta  bit  wltti  ecactaen. 
As  I  have  before  said,  mechanical  aid  might  In  loms  degreo  orer- 
csme  thU  difficnhy.  FictB  or  ilbi  upon  the  flngeivbawd  woold  at 
once  gire  the  tree  note,  and  require  lew  labour  fiwn  the  perfonuer 
in  stopping,  in  addition  to  which  I  ihould  recoraraend  to  the  per- 
former (whether  he  have  delicate  fingen  or  not)  the  use  of  gloTcs. 
— ThcBC,  Mr.  Editor,  are  aomc  of  the  simplest  aids  to  the  performer. 
Bot  it  would  not  be  difficult  so  to  conlrive  levers,  as  (iiat  the  one  end 
should  stop  the  note,  while  the  other  end  might  be  brought  directly 
under  the  hand  of  the  performer,  and  reduced  to  no  grealer  distance 
than  is  required  in  placing  upon  the  violoncello.  Thus  taach  thea 
ibr  tlie  performer,  wboin  we  will  leave  for  the  lUMaant  to  ngoice  in 
the  proapect  of  being  the  most  conaplonoiia  object  in  tbe  orcheitia, 
wbUe  we  proceed  to  throw  out  a  few  more  hints  with  respect  to  hii 
woodet-worldng  machine.  The  great  size  is  an  objecUon  to  such  an 
iiutmment  being  made,  ra;  opponents  maj  say,  and  they  will  per- 
haps indulge  themselves  in  a  little  salire,  and  suggest  that  the  afore- 
said double  doabk  bass  night  occasionally  be  used  as  a  conceit 
tooro — well,  who  knows?  perhaps  it  might  for  want  of  a  bcfler. 
But  jesting  apart,  Mr.  Editor,  if  an  immense  tone  is  not  leqaired, 
(and  on  ordinary  occasions  it  would  not)  the  instrument  might  be 
constructed  upon  nearly  the  tame  Kale  as  the  double  ban.  The 
fact  that  iL  violoncello  may  be  strong,  and  uaed  as  a  double  ban  in 
■mall  concerts,  where  much  power  is  not  wanted,  will  strengthen  thii 
nppodlion.  In  the  case  however  of  stringing  a  doable  baas  Ibr  a 
doi^le  doable  basi,  tbe  atrfnga  mut  of  oonzse  bo  at  leaat  twice  the 
wnal  substance,  nay  more,  if  yon  wish  to  obtain  asclcaraud  decided 
a  tone  a*  poeaible;  a  &w  experimenls  however  will  soon  shew  (he 
real  proportions.  Thus  ranch  then  for  the  construction  of  thedouble 
double  bass :  and  I  think,  Mr.  Editor,  that  you  nnd  every  musical 
nan  will  agree  with  me  in  the  opinion,  that  such  an  instrument 
would  produce  efTecls,  which  at  pree^rit  \\t:  musf  hi:  content  willi 
only  in  imagination.  It  would  be  easy  eiioiigli,  IMr.  Editor,  tn 
encrcnsc  the  power  of  the  upper  parts,  by  the  addition  ot  PiecoU, 
^hnoing-«»iten  iOtt,  Clarimt,  and  otbert.  of  the  iquealuBg  and 
■qudliog  tribe,  Intt  of  these  we  haveqnite  mfficient  BliMdjrw-wlMt 


Digitized  liy  Google 


on  A  DOUBUl  DOUBLE  HAIS. 


m  want  la  basij  moie  bm,  k  good  ttnmg  foundaUoiiL  upon  Thich 
to  build  oai  supentructnre<  We  all  know  what  effect  the  double 
diapason  gira  to  the  oigao,  bu(I  flattei  myself  that  the  double  dou> 
ble  basi  Troald  have  a  still  finer  eSect.  The  tone  of  an  organ  pipe, 
when  it  is  below  a  certain  limit,  is  almost  enlirclj  lost ;  it  gives 
lEeight,  it  is  true,  but  the  tone  is  not  ileciJeiJ.  Tlic  comparison  of 
tlie  tone  of  the  single  slop  diapasoii,  ivith  tlic  double,  wilt  shew 
what  I  mean  better  lhan  can  be  cjiplained  in  writing.  The  tone 
produced  by  a  string  I  have  every  reason  to  bcllcTC  (from  experi- 
ment) would  hare  all  the  properties  of  clearness  and  decision.  If 
joa  think  this  long,  and  perhaps  fanciful  disquisition,  likel/  to 
excite  any  iatercst  among  your  readers,  you  will  oblige  me  by  giving 
it  a  {dacelnyoni  racetlent  publication.  ForUie  present  I  dull 
conclude  by  mentioDing  what  does  not  seem  to  be  generally  known 
with  respect  to  the  construction  of  organ  pipes.  Your  readers  will 
iind  what  I  am  about  to  quote,  together  with  other  very  interesting 
and  ingenious  particulars  In  the  Supplement  to  the  Encyclopedia 
Britanica,  3d  edition,  under  the  article.  Trumpet,  musical.  The 
passage  is  the  following: — The  aperture  and  sharp  edge  which  di- 
Tidcs  the  wind  may  be  continued  all  round  the  pipe.  We  haye 
tri^  Ibis,  and  it  gives  the  most  brilliant  and  clear  tones  we  ever 
Iieaid,  fet  exceeding  the  tones  of  the  organ."  This  appcen  to 
stleut,  tobe  the  very  best  method  for  obtainlDg  aolearanddedded 
tone  from  the  doable  diapason  pipes.  According  to  the  present 
mode  of  construction  it  should  seem  that  one  month  is  not  enoogfa 
to  put  GO  large  a  column  of  air  into  sufficient  vibration. 

N.  S.  K. 

SradJoTil,  Sept.  lil. 


TO  TUB  EDITOR, 


MUSICAI.  STUDENT. 
No.  4. 

AT  famous  fellows  were  Ibc  ancients  a(  a  slory  I  Rivc  them 
but  the  most  simple  fncts,  the  occurrciicuii  of  every  ifny,  nod  out  of 
(heso  ordiiinrj  raatcrials,  Ibcy  woulil  miinulnclnrc  fur  joii  a  poem 
or  a  piece  of  history,  which  slioulil  iltliglit  not  only  tliosc  of  llicir 
9wn  time,  but  all  posterity.  As  a  proof  of  lliis,  tliinii  of  what  i 
writer  of  the  name  of  Homer  has  done,  with  an  affair  which  our 
newspapers  would  only  call  a  "  faux  pas  in  high  life,"  Hu  he  nst 
made  gods,  and  demi-gods,  and  bcroet,  strive  and  contend  fn  a  wvSf 
ter,  whichf  with  us  wauld  be  settled  by  my  Lord  Chief  Jnitice  and  ■ 
box  of  jurymen! 

'Wbat  wtmden,  biD|  has  the  said  Hohbii  perfhniiedi  iritb  tegnA 
to  Bnold  u>lduT»  whoie  name  was  Ulysses  t  The  Tngan  ynx  b^i^ 
over,  this  celebrated  partisan  cnibarkcd,  we  arc  toldi  for  hii  otn 
country,  and  was  driven  here  and  there  by  adverse  dcilie^  and  the 
winds  which  were  then  said  to  obey  them. 

Now  my  opinion  is,  that,  aflcr  all  the  fntigucs  of  campaigning, 
Ulysses,  merely  chose  to  lake  a  voyage  lo  rcfrrsh  himself.  This 
voyage,  if  you  except  his  reported  descent  lo  a  place  which  I  shrill 
not  name,  docs  not  appear  to  liavc  escccdcd,  iii  its  extent,  some  trips 
which  have  been  made  by  many  who  nre  members  of  our  travellers' 
dab.  To  be  sure  it  might  have  been  extended  beyond  Ihe  lime 
vrtiich  Ulystes  originally  proposed  ;  for  now  and  then  he  appears  lo 
have  met  with  very  agreeable  company  in  the  way,  with  whom,  anil 
after  returning  lo  his  lawful  wifO]  Penelope,  one  of  the  sweetest  (Dais 
and  best  tapestry  workers  of  alt  antiquity,  he  seems  to  have  nsed  the 
traveller's  licence,  and  to  have  drawn  the  long  bow  most  furiously. 

Then  there  is  Virgil,  with  his  .^ncid.  But  if  we  were  to  subtrnet 
from  Ihe  work  all  that  the  art  and  imagination  of  the  poet  have  for- 
ntshed,  nothing  would  lonain  bat  what  we  should  call,  "  going  to 
loiA  out  for  a  new  ■etUement."  In  the  same  way,  could  ve  penetrsle 
into  (he  real  tamth,  we  ahonld  discorei  that  the  gtound  wnk  of  the 


□  Igilized  by  Cooglc 


HIE  MUSICAL  STUDENT. 


431 


poem,  by  Appollonim,  ofRhodcs,  via  onlj  "  a  new  and  aucccisful 
BpecnktioD  in  wool." 

But  why  thoald  I  detain  yon,  gentle  reader,  with  tlieso  tluogs, 
wlien  the  gods  themselves,  in  my  hamble  opinion,  were  very  onll- 
nary  persunngcs  at  the  outset  1 

Thus  Jiipilcr,  I  dare  say,  was  no  more  than  a  itnnly  hcail<t>orougii; 
very  fond  of  women,  and  of  laying  about  hira  with  liis  constable's 
staff— Juno,  Ills  spouse,  a  midwife;  very  jealous  of  her  husband, 
and  willi  good  reason.  Then  for  the  hopeful  femily — Vulcan,  past 
alldoubl,  WBGnEmith — Mars,  acaptninin  the  militia;  pcrhapsonly 
in  ilie  "  local" — Bacchus,  a  vintner — Mercury,  an  crrand<man  and 
police-officer;  and,  more  pniliciilarly  tu  come  to  what  concerns  us, 
Apollo,  a  young  student  iji  niedicinr,  fund  of  thrumming  the  guitar, 
and  of  blowing  the  German  flute.  I  have  scarcely  time  to  notice 
the  females,  but  I  would  just  observe,  that  thoie  beautiful  rcIatioM 
which  we  ban  of  Veons  rising  from  the  eea,  and  WDOCva  Itaning 
fiora  hei  father's'  bead,  most  have  had  tfadr  origin  in  some  iloriea 
which  (he  old  man  made  up  to  deceive  his  nb)  who  seems  to  have 
been  pretty  much  alive  to  his  peccadilloes. 

After  this,  will  any  imagjnc,  except  those  persons  who  chuse  to  lie 
deceived,  that  the  account  come  down  to  us  of  ancient  musicians,  and 
the  wonderful  eSecIs  produced  by  them,  are  any  thing  moic  tlian 
fine  highly- wrought  descriptions  of  commonevents  I  What  feelings, 
if  wc  give  way  to  them,  may  not  be  excited  in  our  minds  by  the  story 
ofOrphcusand  his  Eurydice,  which  has  been  bo  admirably  treated 
by  tlial  tender  gentleman,  Ovid  I  . 

And  yet  we  should  disoorei  nothing  in  the  story,  w&icK  doesnot 
pass  almost  daily  before  onr  tya,  ooald  we  get  at  Ike  real  fads. — 
Otpheiu  probably  iru  leader  of  the  band  at  Uie  Opera;  Enridic^ 
his  wife,  prima  donna.  Like  eertaia  other  ladies  in  that  situation, 
she  seems  to  have  indulged  in  a  Utile  intrigue,  and  having  mot  hec 
paramour  in  the  fields,  then  called  Elysian,  she  was  persuaded  to 
ciopc  with  him.  We  are  told,  indeed,  that  she  was  bitten  in  the  heel 
by  a  serpent  concealed  in  the  herbage.  This,  in  my  mind,  means 
nothing  moro  tlinti  that  eIio  ivas  seduced  by  some  sly  dcsigtiing  las- 
ca\ — some  "snake  in  tin  grns^,"  as  we  now  say.  U might  indeed  he 
one  of  her  husband's  particular  friends;  for  it  is  generally  a  man's 
partiottlar  friend  wko  does  him  such  a  favour, 
Wtlh  regard  to  the  deacent  of  Oipheu  to  the  infennl  regions* 

VOL.  III.  HO.  Xtl.  3  L 


IDE  HDSICAL  STUDENT. 


and  bU  playing  on  tbe  Welch  barp,  *  and  singing  a  song,  in  atdtt 
to  get  Ilia  yrife  again,  I  da  not  believe,  as  a  certain  divioe  said  of 
Gullivet's  tiaveb,  lhat  thcie  ia  a  noTd  of  truth  in  the  whole  story. — 
Orpheug,  most  likelj,  finding  lliat  Euiidice  nas  gone  off,  follawed 
licr,  and  having  kicked  up  a  great  dust,  frightened  her  so  much  that 
ilic  cunsciifud  (o  return  home  with  him.  I  shall  not  quarrel  nilh 
those  ivlio  ciioosc  to  credit  the  nccount  which  informs  ua  that  he  lo*t 
\iK  wilb  lor  looking  back ;  but  I  thinli  he  lost  her  because  he  did  not 
look  back.  lu  plain  language,  that  os  be  did  not  keep  a  sharp  eyo 
upon  her,  she  gave  him  (he  slip  and  returned  to  her  dear  friend. 

Be  this  as  it  may,  the  poor  man  appears  to  have  taken  the.  besl< 
ness  Tery  much  to  heart ;  for  it  teenu  that  be  threw  up  all  hb  pro- 
fc8aianaIeiigagenienU,p^lec(ed  huacholan^  and  withdrew  from  ao* 
cietj  (bra  time.  Aflerwarda  I  fear  he  got  into  a  habit  of  tippling^ 
ond  of  freqaenlipg  low  and  improper  company  (  forhewasmnrdeRd 
by  certain  Thracian  women,  in  a  drinking  bout.  There  is  a  itory  of 
their  havi[ig  tlirown  bis  bead  iuto  a  mill  stream,  and  of  its  piping  out 
"  Euridicc"  as  it  floated  along.  However  1  shall  not  slop  to  say  any 
thing  on  lli  is  subject,  si  nee  we  have  a  remarkable  good  story  of  a  head. 
I  mean  the  headof  St.  Dennis,  which,  after  his  decapitation,  tbe  good 
man  is  said  to  have  taken  up  (en  cbapean  bras)  and  to  have  walked 
off  with  it  for  an  English  rmle  or  mote.  This,  I  humbly  subinit,  ik 
quite  OS  remarkable  as  the  above  lelatioa  of  Orpheus'  head,  andjoit 
as  aathcnlic. 

There  are  only  two  oOia  prolewin  of  the  f '  olden  time"  whom  I 
canstoptonotice;  thoieare  ArionandAmpbion.  Ampliion  ia  aid 
to  have  raised  the  waits  of  Thebes,  by  tiie  Bound  of  his  lyre.    By  tfaii 

1  understand  that  he  was  nn  itinerant  performer,  and  went  fiddling 
among  the  workmen  employed  in  building  the  city,  for  Grecian  gin 
and  beer.  Arion  is  represented  as  a  musician  of  singular  merit,  and 
I  have  read  somewhere  that  he  was  taken  into  Italy,  by  one  of  the 
great  men  of  his  day,  where  he  made  a  large  fortune. 
Tilings  are  now  strangely  altered ! 

No  one  bo»-B>days  thlnlu  of  going  to  Italy  to  make  a  fortune  by 

*  Some  inny  suppose  llmL  I  am  here  guillj  of  a  great  anachromiani,  but  it  is 
DO  inch  thing.  I  hate  no  doubt  (hat  Che  Welch  harp  was  brought  to  great 
perfectjoalaDgberore  the  time  of  Orpheus;  and,  Ifaay  shooIdnoCbe  indioed 
totaketny  wordrorlt,!  willhave  the  matter  folly  prorcdby  my  aa&paiim 
(Head,  GuUllm  ap  Motgan  af  Griffiths  Hp  Joaea. 


Digriized  by  C 


THE  MUSICAL  STUDEKT. 


433 


music,  (liougb  man;  come ^om  Italy  foi'  Ibst  jiurpOBc.  And  it  may 
be  obaemd'tliBtthey  Bie  geneialljr  loccenful:  especiall]' when  they  . 
aliape  tiieir  Goaiw  towaids  Uiii  oui  happy  iiland,  and  deUght  John 
Bull  wlh  their  waTbliDgs,  righing,  and  gnmnce.  But,  (o  return  tfr 
Arion. — Wc  are  infonnei),  bj  his  veracious  biograpliors,  that,  when 
Jie  was  snilirig  bacit  to  his  native  country,  the  mariners  conspired 
against  him,  on  account  of  Ills  wealtb.  Finding  that  all  vas  over 
with  him,  poor  Arion  requesled,  be  a  last  favour,  tliat  lie  inigUt  be, 
allowed  to  play  one  more  tune.  Tic  is  aflvrwartis  said  to  have 
thrown  himself  into  the  sea,  and  to  have  bcca  curritd  ashore  bj-  dol- 
phioi,  vhich  bad  been  drawn  round  the  ship  by  the  charma  of  his 
melody. 

Tiiis  is  all  remartablj  pretty — wry  pntty  Indeed  i  and  I  dan 
fiay  it  anMsoutofsoniBBUGlicircnni^nccsaa  thefblloning;— 

The  crew,  harhig  got  a  nation  that  Arion  hod  a  little  money  in  IiEs 
pocket,  deteimine  to  rob  faim,  and  one  fellow,  Tneie  bnital  than  the 
rest,  knocks  him  overboard.  Seeing  this,  anotber,  not  altogether 
lost  to  the  feelings  of  humanity,  throws  him  out  an  oar,  or  an  empty 
cask,  by  [he  aid  of  which  he  gels  safely  to  land. 

It  is  amusing  to  observe  how  greedily  these  nice  tales  have  i>een 
swallowed  by  some  men  of  great  Icarnitig,  and  by  some  few  of  great 
genius,  QntI  how  much,  on  the  strength  of  such  tales,  those  distin- 
guished persons  have  thought  proper  to  run  downthe  music  of  their 
own  ticne :  describing  it  as  utterly  debased  and  fallen  from  its  pris- 
tine state,  and  fitted  only  for  the  lowest  and  most  ignoiant  of  man- 
kind. 

But  is  it  indeed  trac  that  modem  music  has  no  miracles  of  which 
it  can  boast  1 

No!  gendc,  cnurtcoiis,  niiJ  patient  reader;  and  U.  is  with  the  in- 
tention of  comforting  thee  on  this  head  that  I  have  undertaken  the 
presejit  dlsscrlatiuu  :  in  the  coutsu  of  irhich  I  hupe  to  prove,  to  thy 
satisfaction,  that,  if  we  had  but  a  kvi  [inch  or  poetical  lihlorians  as 
the  Greeks  had,  »c  should  make  as  good  a  ligure  aa  the  best  of  them, 
.  Let  tu  first  consider  the  wondrous  power  of  our  music  in  the  case 
of  the  Tarantula* 

.  Every  body  koows,  or  ought  to  know,  that  this  formidable  spider 
.is  pecoliac  to  a  certain  district  in  Italy,  and  that  its  bile  would  pro- 
duce the  most  dreadful  efTectSj  even  death  itself,  if  it  were  not  for  the 
fijtcc  of  (iddling. 

■  Sl8 


I 


434 


THB  WDSIGII.  STDDEtlT. 


Tlie  rotloniDg  aoconot  oF  the  mode  of  cure  piactisad  on  Umnb 
unliappjr  persons  who  have  had  the  mbfcHtane  la  be  Utten,  is  talua 
Trom  CIiaiTibcrs's  Dictiuniiry  ;  niid  1  beg  leave  to  RObiaU  that  Um 
nnllioriiy  of  tliat  grave  Enc^clopiedist,  and  the  respectaUe  tntimo. 
iiics  by  which  it  is  supported,  Are  entitled  to  sll  ponible  cndtt  and 

"  As  soon  us  the  patient  Iiat  lost  h'ta  sense  and  motion,  a  vasA' 
cian  tries  several  tunes  on  an  instnintent,  and  wben  be  faai  hit  on 
that,  the  tones  and  modulations  whereof  aerec  to  the  patient,  he  is 
immediately  seen  to  make  a  faint  motion  :  liis  fingers  first  begin  to 
move  in  cadence,  then  liis  arms,  then  his  Icee,  by  degrees  his  whole 
iiody;  at  length  he  risei  on  bis  feci,  and  begins  to  dance — his 
Btrengtb  and  activity  ilill  increasing.  Some  nill  continue  the  dance 
fer  Six  hour*  witlnrat  intenniuioii. 

"  After  this  be  ia  put  to  bed)  and  nlicn  he  is  judged  sulficienlly 
recruited  of  hit  first  dance,  he  is  called  out  of  bed,  by  thesame  tunc, 
for  B  second. 

"  This  exercise  is  continued  for  several  days,  sLx  or  seven  at  moil, 
in  vrhich  time  the  patient  finds  himself  exceedingly  fatigued,  iind 
unable  to  dance  any  longer,  which  is  the  character blic  of  Ejls  being 
cured ;  for  as  long  as  Ibc  poison  acts  on  him  he  would  dance,  if  one 
pleased,  without  any  discontinuation,  till  he  died  of  the  mere  loss  of 


"  The  patient  perceiving  himself  iveary,  begins  to  come  to  liim- 
self,  and  nwakcs,  as  out  of  a  profound  slcrp,  wilhont  any  remem- 
brance of  wliiit  iiail  pa.ssed  in  Ins  paroxisin,  not  even  ofhis  dance. 

"Sometimes  (lie  pnliciit  IIhih  rocovcriiig  from  his  Gist  access  is 
quite  cured — if  lie  be  nol,  he  (imia  a  iiiclaiichnly  gloom  lianging  on 
bim ;  he  shuns  the  sight  of  nicn,  and  seeks  wafer ;  and  if  he  be  not 
carefully  looked  to,  throirs  himself  into  some  river.  If  lie  do  not 
die,  Ibe  fit  returns  at  that  time  twelvemonth,  and  he  u  driven  fa 
dancing  again.  Some  have  had  these  retDmi  iqpilarly  for  tmatj 
or  thirty  years. 

"  Every  tamntulus  has  liis  particular  and  specific  tone,  bat  ia 
general  tliey  arc  all  very  brisk  sprightly  tunes,  that  votk  cares. 

"  This  account  was  given  in  to  tlic  Royal  Academy  of  Sciences 
by  M,  GEoFi'iioYiat  Ills  return  from  Italy,  in  1702,  and  confiimcil 
by  letters  from  F.  Gouve. — The  like  history  is  given  us  by  Bag- 
Ltvl,  in  an  express  dissertation  on  tlie  laranlii in,  published  in  l(i!)(>." 

After  all,  it  must  be  acknowledged,  tb^it  certain  gcnitcmcn  vho 
call  themselves  ualurat  philosophers,  and  who  pass  their  time  in 
turning  up  every  btone,  and  poking  tlieir  walking  sticks  into  everjr 
puddle,  in  order  to  make  what  they  arc  pleased  to  term  "discoTB» 
ries" — it  must  Ik  acknowledged,  I  regret  to  say,  thot  some  of  then 
busy  and  officious  pcisans  presume  to  doubt  the  truth  of  the  idatioD, 
10  gravely  given  by  oai  friend  Ephroim.   Mafi  lotae  of  Otm 


DIgiiized  by  Google 


THE  MUSICAL  STtlDENT. 


435 


stoDlIj  deny  il,  and  declare,  as  Lord  Grtizlc  does  of  the  giantg, 
tliat  "  'Tis  all  my  eye,  and  Betty  Martin."  But,  without  slopping 
to  dispute  Ibe  point  with  them,  (for  they  arc  aii  obstinate  race)  I 
would  ask,  doei  not  the  story  tell  ncU  i  And  if  it  were  skillfully 
managed  by  a  fine  gcDios,  rither  in  tbtu  or  prose,  might  it  not 
CRoae  our  poalerity  to  stare  and  hleu  tboaueres  i 

Uigbt  not  some  Allure  Mnbomina  aUenpt  to  leoom  ud  sweelly- 
to  rinj;  one  of  those  yrecioos  and  wonder-worbing  itraini,  and  npon 
the  strength  of  «uch  marvels,  might  not  anollicr  Jean  Jacques,  twenty 
centuries  hence,  moat  eloquently  endeavour  to  persuade  his  conteoi- 
pomries,  tliat  their  own  music  was  good  for  nothing  1 

The  power  of  nioilurn  liaiinoiiy  in  Ihi:  cure  uf  fcvcis,  ,tiu1  many 
other  phyaical  evils  to  uliich  tlesh  iieir,  U  \ycli  kiiuivJi,  that  to 
produce  inslancesof  it  would  be  a  uselc&s  consumption  of  time.  It 
■pay  not  be  amiss,  howerer,  to  stale  the  case  of  U.  Bombet,  because  it 
k  gfv«t  by  himidf  in  hia  lettm  on  B^ydui  and  becaute  it  is  one  of 
the  last  which  we  haw  on  out  musical  medical  record.  The  follow- 
ing are  bis  own  words : 

"  En  1797, j'itais &  Vienne,  malade  do  la  fievrc;  j'enfends sonner 
une  grand  metse  dans  unc  ^gliie  voisine  de  ma  petite  cliainbre: 
I'ennui  I'emporte  sur  la  prudence;  je  me  lire,  el  vais  £couler  un  peu 
dcmnsiquc  consolatrice.  Je  m'inrormc  en  entrant;  c'^lait  le  jour 
de  sainte  Anne,  et  on  allait  exiculcr  unc  messe  d'Haydo,  en  bifOf 
que  je  n'avBiB  jamais  entendue.  EUe  commencait  &  peiue,  que  je 
me  sentis  tout  imae ;  je  me  trouvat  en  nage,  mon  mal  k  la  tfite  se 
dtscipa:  je  sortis  dc  I'f^lise  an  bout  de  deux  lieures,  avec  une  hila- 
rilft  4"^         conuais  sais  plus  depuit  long  temps,  etlafh^ene  remnt 

V"- 

What  has  been  advanced  is  enough  to  shew  the  power  of  modem 
rouno  oyer  matter.  The  following  anecdote  wiH  shew  its  pofwcr  ever 
mind. 

This  anecdote  is  translated  bom  the  "DicliomiaireHistoriquB  des 
MusicicuB,"  article  "Raff." 

"  The  Princess  Belmonte  had  jast  lost  tier  husband ;  a  month  had 
elapsed  without  her  uttering  a  complaint  or  shedding  a  tear — only, 
towards  the  close  of  day,  she  was  carried  into  her  gardens,  but  nei- 
ther the  mellowed  tints  of  a  serene  sky,  nor  the  union  of  every  thing 
which  art  could  present  to  her,  in  addition  to  the  beauties  of  mttur^ 
nor  even  the  softening  obscnritv  of  approaching  night,  could  excite 
in  her  those  tender  emotions  which,  giving  vent  to  gilef,  deprive  it 
of  its  most  acute  poignancy. 

Raff,  then  passing  through  Naples  for  the  fint  time,  wuhed  to  see 
the -Princess'i  gatMiii,s(>cdd>nrtedfoi  tiielibeaaty.  He  was  at- 


436 


THE  MtniClL  6TUDENT.  ■ 


lowed  (o  do  80,  but  nilh  the  injaoction  of  not  appioaohing  &  cart^ 
ubonr,  wbere  the  Princess  then  was.  One  of  the  femuei  in  her 
BDit^  knowing  that  RalT  wag  in  the  garden,  proposed  to  Madame 
Belmonle  not  to  hear  him,  but  to  see  hini,  and  to  albw  him  to  paj 
his  respects  to  her. — RaiF  approached,  having  received  his  instnic- 
tions. .  ARcr  some  montents'  silence,  liic  same  female  rcqueatcd  of 
tlic  I'rinceas  tlint  such  a  cclcbrateii  iirigor,  and  one  who  had  never 
had  llie  lionour  of  singing  before  her,  might  at  least  be  permitted  to 
let  her  hear  his  vuice,  anil  only  sing  a  few  stanzas  from  a  song  of 
Roili^  oT  of  MetBstasio.  The  refusal  not  being  positive,  Baff  inter- 
preted this  lUence  favourably,  and  bein^  sealed  at  a  litue  diBlnne^ 
beiang  the  lint  couplet  of  a  very  alFeclmg  uing  of  Rolii,  beginning 
at  this  vene, 

"  Solilario  bosco  ombroso." 
His  voice,  which  was  then  in  all  its  beauty,  and  one  of  the  finest  and 
most  impressive  wliich  hod  ever  been  heaid,  Ibe  simple,  but  ex- 
prcssive  melody  of  this  little  air,  the  worda  well  adapted  to  the  place, 
to  tbe  persons,  and  to  the  circiimstaDCCS,  altogether  bad  such  great 
ollect  upon  nerves,  wliicli  had  for  su  long  a  time  B[)j)Kircd  lo  be 
hudencd  by  despair,  that  the  tears  of  (he  Princc^is  began  (o  flow 
profusely — they  did  not  cease  for  many  days,  and  thus  an  invalid 
was  saved,  wbo,  without  sucli  a  iiululary  cilusion,  must  inevitably 
Jiavu  lost  bcr  life. 

Here  I  might  very  judiciously  conclude,  having,  lo  my  satisfaction, 
and  no  doubt  U>  the  snlisfaclioii  of  my  numerous  readccE,  made  out 
that  modern  mutic  has  its  mifBclcs,  although  it  unhappily  wanb 
proper  ^ibes  to  record  Ifaem. 

ButtheitoiyafStiadcIiaiiaomacfa  to  my  purpose  tlut  1  cuinot 
refrain  from  giving  &n  ontline  of  some  part  of  it,  (bough  it  ma;  be 
for  tbe  nine  hundred  and  ninely-ninth  time. 

Stradella,  a  celebrated  composer  and  singer,  flourished  at  Venice 
in  the  seventeenth  century.  Among  his  pupils  was  a  Roman  lady 
named  tlortensia,  who,  at  that  time,  was  courted  by  a  Venetian  ot 
high  rank.  By  one  of  those  cross  purposes  which  the  blind  God 
delights  in  playing  off  on  us  poor  mortals,  the  matter  became  ena- 
moured of  his  pupil  and  contrived  lo  carry  her  olf  to  Rome,  where 
they  resided  as  man  and  wife.  His  noble  rival,  furious  at  this  occur- 
rence, determined  on  Inking  a  noble  revenge.  He  did — what?  "Oh  I 
'  he  called  Stradella  out  and  put  him  to  deatti,  according  to  (bestalntes 
of  honour  in  such  ca^cs  mndo  ciiid  provided."  Pardon  me— tiedid 
nosuch  thing.  He  bravely  und  magnanimously  hired  twosconndrd* 
to  BssassinatQ  him.  The  following  account  of  (ho  result  ofthcircom- 
miirieii  i<  taien  from  (lie  votk  vhlch  I  hare  juirtbefiiie  quoted: 


DigilEzedby  ■ 


THE  MUSICAL  STUDENT. 


437 


"  These  wretcfacB  atrived  al  Rome  on  na  cvcnine  irhen  SlriSella 
hod  wie  of  hUoTatotioB  perronned  in  the  church  of  SI.  John  Lateran. 
Datmnined  to  perpetrate  their  crime  irhea  beshvaldqutttheclrardif 
titej  nilered  It  to  lislen  to  the  rousic,  or  rather  to  valch  oia  tiini 
viclim  and  prevent  his  escape.  But  scarcely  liad  they  heard  the  do* 
Jjgbtlul  ruice  of  Stradclla  than  they  felt  themselves  pCDetrated  niUi 
remorse  and  sorroiT.  Tfacy  reproached  each  other  with  the  horrid 
ijuture  of  their  design,  and  were  no  longer  aaimated  with  any  desire 
but  that  of  saving  lilm  whom  a  laoment  before  they  had  doomed  to 
destruction.  Tiiey  waited  for  him  at  tlie  church  gate,  and  seeioe 
him  come  out  with  Hortensia,  they  approached  in  a  respectful  ana 
submittive  nunner,  thanked  him  for  the  pleasure  which  he  had  given 
them,  and  acknowledged  it  was  to  the  powerful  impretiioiu  wtiich 
they  had  received  from  his  voice,  that  he  owed  his  iile." 

Atler  this  relation,  which  is  as  well  attested  as  the  next  paritll 
register,  will  any  one  be  alow  to  believe  that  music — our  ramie  I  mean, 
has  all  tlie  power  ascribed  to  it  by  the  poet,  and  that  it  can  indeed 

■■■    ■      "Sooth  the  gan^  breast!" 
If  thenbeauch  ftpcnon,  I^ve  him  up  to  tha  paniiliment  of  his 
ovn  iiueiiiibiUtjr,  and  I  wish  be  may  never  again  bear  a  chonii  of 
HANDBif,  a  symphony  of  Havdk,  or  one  of  my  psalm  tnues,  in  a 
£Bt  key,  so  lohg  as  Ijc  lives. 

But  to  the  candid  and  unprejudiced,  who  of  course  make  up  the 
great  majority  in  all  societies — to  them  I  would  observe,  that  the  vast 
luperiority  of  our  music  ovcrthe  ancient  is  quite  apparent,  even  from 
the  few  examples  I  have  just  adduced. 

Every  one  knows,  (hat  a  writer  in  my  situation  should  not  ^  too 
lengthy ;  otherwise  I  might  eastl;  have  strengthened  the  proof  of  my 
proposition,  faj  s  vast  variety  of  other  examplesi  I  might  have- 
shown,  that  as  some  modem  compoutlont  are  aid  to  cure  iever, 
otberi  maj  be  pronoiinoed  endnently  calcalated  to  give  It;  to  say 
aotbing  of  the  power  irhidi  many  possess  to  indnoe  ileep.  Tbia, 
however  and  more,  I  omit,  because  I  will  not  intrude  too  much  oa 
what  myreaden  may  consider  their  own  province. 

However  I  mast  again  observe— the  thing  in  truth  is  as  clear  "  ai 
the  son  at  noon  day" — that  the  music  of  our  time  would  not  fail  to 
excite,  in  afler  ages,  a  wondcrrul  i  cvctencc  fur  its  miraculous  eiTccts, 
if  those  el&cts  were  represented  by  such  fine  rolourisls  as  they  were 
who  have  given  us  accounts  of  the  music  of  antiquity. 

It  is,  tJien,  "  devouUy  to  be  wished,"  that  some  of  onr  great  poets 
would  take  the  matter  in  hand.  There  is  my  Loxd  Btsoh,  fin  in- 
ataoce.  What  a  field  for  the  exercise  of  his  great  taleutS}  doea  "  the 


438 


THE  MUSICAL  STUDENT. 


power  of  music"  present  I  And,  if  he  noald  turn  bis  attcnlion  to 
tbb  subject,  I  ntll  venture  to  assure  his  Lordship,  that  there  is  not  a 
thinking  man  among  the  "  thinking  nation"  of  hia  countrjinen, 
nho  irould  not  excuse  him  for  neglecting  (o  finbb  Don  Juan. 

Then  there  are  our  Hoobbi,  oiuCampbells,  and  along  list  of 
the  "  SoHof  Soig,"  anongwbanlt  vould  not  be  difficult  to  select 
aeretBl  irbo  are  likel;  to  go  dovn,  with  a  ^d  grace,  (o  poaterity. 
Nov  I  do  most  earoestlj  recommend  modem  music  to  the  especial 
notice  and  protection  of  these  geallcmen.  I  eDtre^tiunlscoBiidn 
ivell  all  her  claims  to  regard  and  admlmtion  j  and  I  beseech  fliem  to 
bestow  upon  her  a  due  proportion  of  that  gamitnte  of  the  Guicy 
whicli  has  so  poweifullj  served  to  advance  the  pretendons  of  her 
ancestor,  in  (he  minds  of  manj  well  disposed  persons- 
Materials  for  the  work  are  lo  be  found  al^IO^t  every  where,  and  I 
myself  will  undertake  to  funiisii  ,i  qiiniituui  sufTicit  to  any  one,  on 
proof  that  lie  is  properly  qualilicil  liir  Xht  task.  Application  on  (be 
subject  most  be  made  to  GuniSTOPHEa  GnoTCHET,  Gent,  throngb 
tiie  mediom  of  mj  learned  friend,  the  £ditor  of  this  Review. 

N.  B.  Allletten  raiut  be  post-paid,  wden  thi^  aie  hanked  hy  a 
FeeTi  or  a  Hember  of  the  Lowet  Houie. 

8.  S. 


Digilizedby  Cc^: 


ON  THE  RISE  AND  PROGRESS  OF  THE  VIOLIN. 


Xt  has  long  been  among  our  purposes  to  collect,  from  the  varioui 
sources  a[ien  lo  out  investigation,  a  detailed  accouuL  of  tlie  rise  and 
progress  of  tlie  several  musical  inslruineals  in  use.  Wc  Iiopc  to 
reniicr  lliese  notices  more  agreeable  and  more  useful  by  the  in- 
tctspcTsioji  01  remuiKB  upon  tbe  style  of  those  composer*  vbo  bam 
at  the  Tariotu  periods  manUetUy  clianged,  enlarged,  or  improved 
the  range  of  tbe  performer.  It  is,  nt  beUere,  strictly  Ime,  that 
while  there  is  an  almost  nniTersal  diffiirion  of  knowledge  respecting 
the  theory  and  practice  of  sEoging,  my  little  is  generally  nnder- 
plood  concernbg  the  excellencea  or  defects  of  imtnimDntal  perfonn- 
ance.  The  cause  of  this  lies  prtncipatljin  the  greater  interest  which 
sin^g  excites  anuing  the  million  of  auditors,  in  the  more  accessi- 
bte  nature  ofthe  principles  of  vocal  art,  and  in  the  technical  advance- 
ment pihlch  appears  to  he  absolutely  indispensable  to  a  sonnd 
judgment  in  the  determination  of  instmmcntnl  elTeds.  "  Of  per- 
fect performance  on  an  inatrument,"  says  On.  BunNEv,  "  nho 
can  jadge  accurately  but  those  who  know  its  merits,  its  powers, 
defects,  and  difBcultics  i"  Our  plan  19  to  describe  this  atructare, 
these  powers,  and  their  application — lo  narrute  the  entire  history 
—to  notice  especially  those  great  performers  who  hnvo  excelled 
in  its  nse^  and  to  point  out  the  several  authors  sod  sstbS)  thus  coo* 
centnting  into  one  focus  much  of  what  is  desiiafak  to  be  known. 
We  hnve  selected  the  violin  for  our  first  essay,  not  only  on  account 
of  its  prominent  qualities,  but  because  we  have  already  printed,  in 
our  previous  numbers,  much  upon  the  construction  and  the  use  of 
keyed  instruments,  which  might  otherwise  seem  to  claim  the  first 
place.  We  thus  hope  not  only  to  interest  the  performer,  but  to  dif- 
fuse a  more  general  power  of  comparing  ami  (Ictcrmiuing  effects 
than  has  heretofore  been  enjoyed.  And  ivc  tnltclhis  opportunity 
especially  to  invite  professors  and  amnteiirs  to  assist  our  endeavours 
with  nny  suggestions  lliat  may  occur  lo  (liem.  We  wish  indeed  that 
it  were  in  our  power  to  stimulate  the  lovers  of  music,  and  (he  pro- 
fessor especiBlly,  (whose  objects  are  the  most  intimately  connected 

vol..  III.  MO.  XII.  3  M 


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440         ON  THE  RISE  AMD  FHOGRES8.  OV  THE  TIOUV' 


witli  our  onn)  to  a  freer  use  of  llie  pen.  Since  the  establUhmeiit  of 
oar  Miscellanj  we  have  received  (be  strongest  and  most  flattering 
auuiances  of  tbe  utility  of  our  cITurts  in  awakening  the  curiosity 
and  attention  ofmusical  people,  in  furnishing  mnterinis  for  thinking 
and  topics  for  discourse,  and  indited  in  cxciiing  llint  inlerc^t  wliich 
is  likely  to  be  producli?c  of  llii:  moiil  enduring  ndvnntngps,  as  well 
as  in  adviincing  the  dignity  uf  art,  by  slicwiiig  .ind  riveting  its 
connection  with  letters.  Nothing  can  so  raucli  aid  in  perpetuating 
these  detligns  as  the  cuntribulions  of  Icisnre  and  understanding. — 
AmatcDTB  theorize — profcssorB  practice.  It  is  to  the  collision  of 
ardent  minds, and  theexpcrienceof  laborious  hours,  that  science  and 
art  oire  their  advanceoient}  and  perhaps  it  has  hitherto  been  the 
jnit  veproach  of  mosic  and  musical  men  (in  Englnncl  etpeciallj) 
that  lilerature  haa  been  so  little  connected  irith  their  parsuits> 
Hence  It  has  happened  that  musidaiiB  have  been  hctd  far  lover  in 
fltescale  of  artbla  thaa  an/  othci  class.  Bat  as  wc  know  there  are 
bright  exampTes  of  intellectual  and  general  accomplishment  to  be 
found  in  their  circle  as  i?eU  as  in  others,  and  as  vie  slcad^lj  be- 
liere  the  profession  is  every  where  rising  in  character  and  estima- 
tion, we  arc  anxious  to  enforce  truths  which  arc  ncillicr  new  to  others 
nor  to  ourselves,  nnd  fo  point  out  one  means,  and  that  not  the  least, 
of  confirrairig  their  claims  to  their  pri)per  place  and  distinction.  We 
hope  we  have  snid  enough — vie  are  sure  we  have  not  said  loo  much, 
and  we  trust  there  is  spirit  to  answer  to  the  cnll. 

There  appears  to  be  some  doubts  concerning  the  origin  of  the 
violin,  but  like  other  instruments,  it  haa  probably  arrived  at  its  pre- 
sent stats  tbrongh  semal  gisdationi. 

In  the  *'  Reflection!  upon  the  constmction  and  use  of  some  par- 
ticular musical  tuitrumenti  of  antiquity,"  Inserted  by  Dy.  Bcbitst 
Bt  the  end  of  tlic  first  Tolnrae  of  the  Histoiy  of  Mostc,  the  remits  of 
Rupiiries  conceming  the  employment  of  stringed  instrumeutE  by  the 
antients,  are  thus  related 

"  Tn  one  of  the  anlient  paintings  at  Portici  I  saw  a  lyre,  with  a  pipe 
or  flute  for  the  cross  bnr,  or  bridge,  at  tlictup;  wljctber  this  tube 
was  used  as  a  wind  instriinient  to  accompany  the  lyre,  or  only  as  a 
pilch  pipe,  I  know  not ;  nor,  within  the  course  of  my  enquiries,  bat 
any  example  of  such  a  junction  occurred  elsewhere. 

^  Tliete  are  two  expedients  for  prodnciog  sound  from  tbe  idingt  of 


ON  THE  BISE  AND  PROGBESS  OF  THE  VIOLIN.  44t 


modern  inetnimcnls,  -with  vhich  the  anticnts  seem  to  bavo  been 
vlioUr  uiMcquaiDlcd.  These  are  the  bow  and  keys.  It  has  long 
been  a  diipnlc  among  the  learned,  whether  the  violin,  or  aaylnstru- 
■wnt  of  that  kind,  as  now  played  mtb  a  bow,  was  known  to  the  aii- 
tlonti.  The  little  £gare  of  Apollo,  playing  on  a  kind  of  vialin, 
with  MmetldDg  fflb  a  bow,  ill  tho  gniid  Dnko'a  lIViitoiB,  at  Floience, 
vhich  Mr.  Addiion  and  othetB  anppoied  to  be  antiqac,'  has  bran 
prored  to  be  modern  hj  the  Abb6  Wikckblhah  and  Ms.  Haxos. 
So  that,  an  this  was  the  only  piece  of  sculptura  reputed  aitoient,  in 
wliich  Hiiy  thing  like  a  bow  could  be  fooad,  nolbing  more^remaim 
t,)  be  discussed  tclalivc  (o  that  point. 

"  \^'ith  rc^iiect  (o  an  inslrumcnt  ailb  a  neck,  bcsidci  that  on  Ihc 
broken  obelisk,  at  Rome,  (sec  p.  SOi)  and  one  from  a  sepulchral 
grotlo  in  the  ancient  city  of  Tarqninia,  which  will  be  described 
hereafter,  there  is  in  en  antique  painting  in  the  collection  of  Wh. 
Locke,  Esq,  which  consists  of  a  single  figarc,  supposed  to  bt  a 
muse,  an  instrument  nearly  in  the  form  of  a  modem  violin,  but  the 
nedc  ia  modi  longer,  and  neither  boa)  nor  plectrum  are  dlscovemble 
neat  it.  This  may  have  been  a  Cbelys,  which  was  a  species  of  gui> 
tar*  eilher  Ibnunmecl  by  the  fingen  oi  twanged  with  a  qiiill.  The 
painliBg  was  itoisn  oat  of  the  Navoni  Sqiulohre,  commonly  oalled 
Ovid^  Tonil^  and  bad  been  near  two  hundred  years  fn  the  Jfturim 
Palace,  at  Home,  when  Hn.  Lockr' purchased  it.  Bianchihi, 
Deitiilmtii.  vd.  givesonly  one  inBtriimenl  in  this  form.  Tab.  IV.  No. 
7,  but  never  mcnlions  tlie  use  of  a  bow.  He  calls  it  liic  C/iiii/a  or 
reformed  l)Te  of  Mercury,  which,  sajs  he,  p.  !i8,  "having  tlie 
power  of  shortening  tlie  strings  by  means  of  a  neck,  varied  the  sound 
of  the  same  siring,  like  several  magades,  lis  form  may  be  seen  on  an 
Riicieot  vase,  which  is  now  in  the  Giustimam  Palace  at  Rome  ;  it 
was  published  by  Boisiaru,  torn.  2,  115,  and  in  the  new  edition  of 
Grutbb,  p.  816.  It  vat  played  on  wmctimcs  by  liii:  hand  aud 
sometiroea  with  a  plectrnm.  SeeScalig.fa  Jl/on//.  p.  SSL 

Indeed,  tiie  ancients  had  inatead  ofateiVithc  pkarum,  but  in  all 
the  r^resentationa  wliioh  painting  and  fcnlptnre  bave  presorred  of 
tbii  implentent,  il  appears  too  cltnmy  to  prodnee  Awn  the  stringa 
tonee  that  liad  either  the  sweetness  or  brilliancy  of  anch  as  are  dmirn 
from  thetn  by  means  of  the  bom  or  quill.  But  notwithstandiog  it  is 
repreieBted  id  masdve,  I  should  rather  suppose  it  to  have  been  a 
quiUjor  piece  of  ivory  in  imiUlion  of  one,  than  a  slick  or  bliinf 


44S         ON  THE  RUB  AND  PROKBESR  OF  TUG  TIOLIK. 

piece  of  mod  or  ivoiy.  IndsMl,  Virgil  telit  as,  JEa.  VI.  617,  Ibal 
it  WHS  made  of  iyory," 

In  thehiatoij'orXHOiiJiiof  Rudiko,  (to  wfaiohSis  J.  Haw* 
KiHBoiHerres,  perhaps  no  mare  credit  is  due  tbeato  men  and  tradi-' 

lion),  Raiiere,  who  founded  the  priory  of  St,  Bartholomcn,  in 
Smilhficld,  about  1103,  is  said  to  tinvc  retained  "  a  company  of 
niinslrcU,  i.e.  fiddlers,  who  played  willi  silver  bows." 

In  tlio  legendary  life  of  St.  CnnisiopiiEa  {M.S.  Vernon  Bod- 
leian Lib.f.  119),  wriltm  about  the  year  1200,  we  liod  mentioa 
made  of  tbe  fiddle. 

■    —         Cristofte  him  served  lonffe — 

The  Kyngc  loved  melodye  of  fitlicle  anil  of  sojigo."' 

The  word  liibiblc,  used  by  Cuauceb,  has  been  iiiterpreled  inio 
rcbccor  giltern,  vhich  Sia  John  Hawkins  thus  describes.  "It 
seems  that  Reheb  is  a  Moorish  word,  signifying  an  instritnieDt  with 
two  strings,  played  on  with  a  bow.  The  Moors  brought  it  into 
Spain,  whence  it  passed  into  Italy,  and  obtained  the  appeHatbn  of 
Ribeoa,  from  whence  the  English  Rebeo,  wbioh  Faritiiips  and ' 
others  aflet  him  render  s  fiddia  with  tiiree  ifrings." 

Among  the  list  of  niDUlioni  and  players,"  in  the  Berrica  of 
Edward  tfie  Sixth,  is  to  be  found  one  performer  on  the  rebec,  whoso 
name  stands  IIjc  fical  of  the  instiumentalists,  and  bis  salary  is  the 
liigliest,  except  those  who  played  on  the  vialls.  Amongst  those 
entertained  by  Elizabeth,  there  are  two  assigned  to  the  rebec  and 
dght  to  the  vialli. 

"  The  instnitnenl,"  nys  Dr.  Burney,  "  which  most  frequently 
served  foian  accompaniment  to  the  harp,  and  which  disputed  the 
piO'^mioeitce  with  it  in  the  early  times  of  music  in  France,  was  tho 
▼ioli  and,  indeed,  when  reduced  to  four  strings,  and  slript  of  the 
ftels  with  which  viols  of  all  kinds  seem  to  have  been  fnrnishcd  till 
the  uxtcenth  century,  it  still  holds  the  first  place  among  treble  in- 
stinnients,  under  tho  denomination  of  violin. 

<*The  viol  played  with  a  bow,  and  wholly  di&rent  fmrn  the 
TigUe,  wfaose  tone*  are  produced  by  the  fttotion  of  a  wheel,  which 
indeed  perfotou  the  paitof  abow,  waevery  desriy  in  &voiu  with 
the  inhabitant!  of  Fiance.   Tbete  instnimenti,  however,  are  &b- 

*  Ssirim  derirai  tlffi  Anglo-Sania  wordj!(A«fe  fnm  vedei,  and  vtdekt 
MfeL  Dutch;  fiafine,  German, and  ^  tromAfodti,  I<ak 

Dr.  Bbra^f  HM.  iffMui.  vol.  U.  p.  355. 


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OK  THE  ItlSE  AND  PROOBEES  OT  THE  TIOLIN.         443  - 


qucnll;  conroanded  by  writers  as  well  as  readers;  but,  to  Tcmo've  - 
nil  ambiguity,  I  shall  give  an  engraving  of  a  figure  on  the  portico 
of  Notre  Diiinc  at  Paris,  iiliid),  accorJing  lo  Montfauoom,  TBpre-  ' 
sents  King  Ckilpbiiic,  with  a  violin  in  his  hand." 

It  thus  seems  probable  that  the  Kebec  and  lbs  Viol  were  the  pie-  ' 
cuFson  of  the  viAlin,  although  the  two  loiter  imtnuaents  were  for  s  ■ 
coDudeiatile  time  colemporftiiei.  But  while  the  viol  was  the  instni*  • 
ment  of  the  higher  ranlu,  the  fiddle  acmd  only  fin  the  amusement  ' 
of  tlie  lower.  In  narratbg  the  progrera  of  ait,  about  the  reign  of 
Elizabeth,  "  instrumeiital  miuic,"  tayt  De.  Burnbt,  seems  as 
yet  to  Iiavc  roacle  but  a  sniBli  progren  towards  that  perfection  at 
which  it  has  since  arriyed  ;  Indeed,  the  lute  and  viTginal  were  the 
on\y  instromcnls  for  which  aojr  tolerable  muoic  seems  to  have  been 
csprcsslj'  composed.  The  Tlolin  wag  now  hardly  known  by  the 
English,  in  shape  oc  name;  and)  therefore,  that  superior  power  of 
expressing  almost  all  (hat  a  hnman  voice  can  produce,  except  the 
articulation  of  words,  seemed  at  this  time  so  ultcrly  impossible,  that 
it  was  not  thoiight  a  gentleman's  instrument,  or  one  that  should  ha 
admitted  into  good  company.  Yiois  of  various  sizes,  with  six  strings, 
and  fretted  like  the  guittar,  began  indeed  to  be  admitted  into  cham- 
bei-concertB>  ■ 

Panning  the  cohtn  of  Db.  Bvanmr'a  hbtory,  we  liad  that  this 
inatmraent  attained  its  esrUeat  importance  in  France.  D  a .  B.  says, 
"  the  violin  seems  to  have  been  brought  into  favour  at  the  court  of 
France  before  any  honourable  menlion  is  made  of  it  elsefrherc,  by  the 
arrival  of  Baltazarini,  a  great  performer  on  the  instrument;  who, 
at  the  head  of  a  band  of  violin  players,  was  sent  from  Piedmont,  by 
Marshal  Brissac  to  Catharine  de  Medicis,  and  appointed  by  that 
princess  her  first  valet  dcchambrc  and  Bupcrintendant  of  her  music* 

There  is  in  the  Musurgia  of  Luscinins  a  figure  of  the  violin,  sucii 

*  The  -^ioliii  irith  four  strings,  tuned  by  Sths,  and  wHhont  the  iinger  board 
bciDg/rcffcJ,  is  an  instniniont  <A  much  later  inventton  than  the  treble-^l, . 
with  sii  slrinp,  tuned  chiefly  by  4fhs,  and  with  a  fretted  finger-board.  G«- 
lilei  (Di'afp.  147)  says  that  "both  the  violin  and  base,  or  Tioloncello,  were 
inienlcd  by  the  Italians,  perhaps  by  the  Neopolitana;"  and  I  am  unable  to 
confute  that  opinion.  Corelli's  Tiolin,  now  in  the  poMCasion  ot  Signor  Glar- 
dlai,  was  made  in  1578,  and  tho  case  punted  by  Annibal  Caracd,  probably 
sereral  years  iftsr  the  violin  was  finisbed,  at  which  time  Aidb.  Caiacd  was ' 
traCdght  years  old.  Hontagne,  who  was  at  Verona  ISSO,  mji  that  Uwre 
were  oi^ns  and  tAtfint  to-  acconpany  the  mass,  fai  the  great  church.'— Jbum. 
At  Voyage. 


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444         OH  THE  lUIE  AND  PBOGRESS  OV  THE  VI0Li;4. 

OS  it  wu  in  1530,  which  may  also  be  seen  In  Sib  Johk  HAWBins'i 
History  of  Huiic,  vol.  3,  page  444.  Indeed  there  are  two  represen- 
taliont,  the  one  a  long  small  tbin  triangular  box,  with  one  siring — 
the  other  like  Ibe  half  of  a  penr,  divided  longitadinall/  witli  three 
strings.  But  an  inetraitient,  of  the  date  of  1578,  was  at  the  time  Sir 
JsHX  H&wKiHS  wrote,  in  the  possession  of  the  Duke  of  Dorset, 
vblcli  newHy  tombled  in  shape  the  fbur-stiinged  fiddle,  though 
oAiuiiented  vilh  a  profauM  of  cvrved  vork.  It  Is  thvi  described. 
"  TIk  diramiom  cf  the  initrament  are  aa  fittlow  i — From  the  extre- 
mity of  the  tail-pin  to  (he  dragon's  bead,  two  feet.  Length  of  tiie 
bellj,  thirteen  inohcs.  Thickness  at  the  tail  end,  one  inch;  at 
the  botlom  of  the  finger  board,  four  and  a  half.  Over  the  pins 
js  a  silver  gilt  plate,  that  turns  upon  a  binge,  and  opens  from  the 
nut  dotrnwRTds;  tbereon  are  cngmvcd  llie  arms  of  England,  and 
undn  (hem,  encircled  by  a  gntter  vith  ilte  iisukI  molfo,  (he  bear 
and  ragged  stall,*  and  an  Enrl's  coronet  at  tlie  lop-  In  the 
toil-ptn  [>  ioKried  a  gilt  silver  stud,  to  which  the  tail-piece  ii 
looped, with  a  lion's  face  cnrioailj' wrought  on  the  ti^;  Ihiab  se- 
cured by  n  nnt,  whicli  nrewB  to  U  on  the  undtx  side  of  the  Instni- 
1  5 

ment,  wbcrcoo  are  engraven  these  h;ltCT8  imd  figures  I       P  sap- 
7  8 

posed  to  signify  the  year  when  it  was  made,  and  the  initials  of  the 
maker's  name.  The  subject  of  the  carviug  on  Ibe  deepest  part,  and 
on  the  side  above  presented  to  view,  is  a  uinn  with  an  axe,  standing 
on  the  ground,  and  working  upon  some  falten  branches  of  an  oak 
tree :  on  the  opposite  part  are  represented  hogs  under  an  oak  tree, 
and  a  man  beating  down  acorns ;  the  test  (be  earring  is  foliage  { 
ibe  whole  is  in  alto  lelievo.  Under  the  earring  is  a  foil  of  tlnxl  or 
■Urei  gilt.  The  back  of  the  instTument  is  not  carved,  but  fonu  a 
very  obtuse  angle;  and  from  the  bottom  of  the  back,  extending  to 
'the  back  of  the  dragon's  bead,lhaoacTjng«  whidi  is  very  bdd»  coa- 
asteofoak  fidiage. 

*  The  bear  tad  ngged  sbtff  was  the  cogniiancc  of  ttir  Xcvils,  Kittis  of 
Watwldt.  Robert  Dndl^,  EatI  of  Lrieertcr,  who  derired  his  pniigrix  from 
tkra,  took  K  for  Ui  cres*.  See  Fuller's  WmtlnEa  ui  WireUiUtibv,  1  IB. 
Thb  agrees  with  a  IradltiDn  oaeceniiDg  It,  tiiattiu  untmment  «m  or^ijMll; 
Qbms  lBiidMlh's,Hi4thUihep>Bit  tahcr&fiarkBtlM  Eari  of  Leicester, 
wluch  is  not  impn^Mble,  sceiDg  Uut  her  srms  are  alio  upon  iL 


ON  THE  lilSE  AND  PEOGItESS  OF  THE  TIOLIK.  445 

"  Nolff ilbstaoding tlie  exquiaitewoikniaiubiporit,  Ibeinsttument 
pioducei  but  a  close  and  sluggish  Ions,  wbicb  ooiuldcriog  tbe  ppf 
iiuloD  orornameiit,  and  tbe  quaatilj  of  vood  wiUi  w bioh  it  if  uwqDV- 
ber«d,u  not  to  be  woDdered  at. 

"  But,  notwitbgtanding  llic  <li  vers!  lies  in  the  sliape  of  (he  riflts  st 
{  difieteot  periods,  that  the  modern  violin  had  assumed  Ibe  foiqi  wbicb 
it  now  bears,  almost  as  early  as  tbe  beginning  of  the  teveoteenlh 
iawy,  is  indisputable,  for  of  tlie  violins  of  Cremona,  so  loog  cele- 
brated for  the  beauty  of  tlicir  shape  and  fineness  of  lone,*  there  axe 
great  nnmbers  that  appear  to  have  been  made  before  tbe  year  1^0, 
and  yet  it  does  not  appear  thai  (lie  violin  was  used  in  coooert  till 
gome  years  after." 

Tbe  piercing  yet  beautiful  tone  of  this  s[)ccies  oi  instrument, 
wbich  is  capable  of  so  many  sodificalioos,  and  uUich  may  be  ren- 
dered toft  harsh,  neltingor  inspiriag,  and  adaplL-J  io  bolli  chear^ 
ful  and  plaintive  melodies;  titeii  extensive  compass,  their  easy  iw 
tonatiMii  and  the  advnnlage  that  without  altering  or  untuning  tb» 
perfoimer  oiay  play  in  all  key^  sra  no  doubt  Ibe  causes  which  bare 
raised  tbem  io  the  lank  of  the  first  naA  matt  ueeemry  wMwwU 
of  an  orchestra. 

This  instrument,  says  Baillot,  (Methode  de  Violen)  natarolly 
made  to  lead  in  concerls,  and  to  obey  all  tbe  flights  of  genius,  has 
assumed  tbe  difierent  characters  that  great  masters  have  desired  to 
give  it-  Simple  and  melodious  under  Ihe  fingers  of  Coeblli  ;  har- 
monious, touching,  and  graceful  under  the  bow  of  Tabtihi  ;  elegant 
and  soft  under  tlint  of  Gavin  ics ;  noble  and  magnificent  under  tbaf 
of  FuoNANi;  full  of  fire  and  force,  pathetic  and  sublime^  in  il^ 

•  There  were  fbar  persons  of  the  natne  of  Anati,  natiies  of  Cnmona,  (nil 
malcers  of  riolins,  that  is  to  say,  Andrew,  Jerome,  aji<l  Antony  his  sods,  and 
meelai,  Ae  ion  of  the  latter.    Andrew  flourished  aboul  the  jetr  IGOO. 

Sendes  these  there  nere  two  persons  of  the  naroL' or  Siradiuarius  of  Cremoiin, 
admirable  artisans ;  tlie  latter  was  living  at  the  beginning  of  tiiii  century  :  tii| 
rignatore  was  Antonios  Stradiuarius  Crcmonensis  Faciebat  Anno  AiS. 

Andrew  Gnarnier,  abo  of  Cremona,  signed  thus,  'Andreas  Guamerios, 
fecit  CremomB  ipb  titolo  Saucta  Teresb  ISSa' 

The  violins  ot  Cremona  are  eyceeded  only  by  those  of  Sttdoer,  a  Gernm^ 
whose instmnUBtianretBaAaiiteftnraMlaiMiiterdng.tone;  Usdgnatareis 
as  follows: 

Jacabus  Stalner,  In  Absam  prop£  Oeniiiantain,  1B47.'  OcnfpoH  Is  tbs^ 
£iatinnuie  of  Iniprack,  in  Germany,  the  chief  city  of  TyroL 

Matthew  Albani,  also  i.TjaieK,  ripiedtba^  'Matthias  AUwnis  font  in 
fyrot  Bnbaiii,  1Q54.' 


446         ON  THE  niSB  AND  FROGBESS  OF  TBE  VIOUN. 


hands  of  Viotti  ;  it  poutrajs  the  passions  vitii  energy,  and  vritli « 
'grandeur  fvbich  belanga  at  mach  to  the  rank  it  occupicf^  as  to  the 
empire  it  excrdset  over  tbe  soul. 

Tbe  body  coniiBta  of  a  lid  and  bottom,  joiped  by  a'  tbin  pBitition. 
The  lid  or  the  iqiper  part  of  the  body,  more  coimnanly  called  tbe 
sounding  baud,  b  the  most  important  part,  because  Ihe  beauty, 
stnnigtb,  eqoality,  and  parity  of  the  tone  depend  alike  on  the  qna- 
lily  and  strength  of  its  wood.  It  is  made  of  perfectly  dried  fir  wood, 
and  is  more  or  leas  concave.  The  bottom  is  of  a^ih  wood,  likewise 
concBve,  and  of  the  same  size  with  the  sounding  board,  but  ge- 
nerally constmcted  in  two  equal  parts.  The  sides  are  a  little 
cut  out  in  the  middle,  that  the  bow  in  pai^sing  over  Ihe  lijglieU 
or  lowest  string  may  not  touch  the  souoding  bonril.  Near  (o  these 
two  kinds  of  excavation,  In  the  middle,  are  two  small  holes,  cut  in 
Ihe  sounding  board  in  the  shape  of  an  which  serve  to  bring 
the  outer  air  in  contact  with  that  within  the  sounding  board,  and  to 
set  up  and  regulate  the  supporter.  This  supporter  is  a  small  piece 
of  wood,  erected  wiUiin  tbe  body  of  the  inntomeat,  a  little  behind 
that  fiwt  of  the  bridge  OTet  which  lies  the  weakest  string,  to  give  the 
fioDoding  board  a  counterpresnue  against  the  pressure  of  the  two 
highest  strings.  And  to  afford  it  an  equal  resutance  under  the  other 
ibot  of  the  bridge  oo  which  the  lower  strings  are  pressing,  there  is 
anothersmall  jnece  of  wood  glued*  lengthways  in  the  belly  which  is 
strongest,  under  the  part  where  the  bridge  is  sL-inding.  This  is 
called  the  beam,  and  it  has  along  with  the  supporter,  the  greatest 
influence  on  Ihe  goodness  and  equality  of  the  tone.  The  upper  part 
terminates  in  a  neck,  on  which  is  (he  linger  board  ;  this  extends 
over  part  of  the  sounding  board,  lo  a  few  iiiclics  cliilndcc!  from  the 
bridge.  The  strings  are  strclcliod  over  llie  linger  boitrd  luid  the 
bridge;  they  are  shortened  by  the  pressure  of  the  fingers  of  the  left 
hand,  which  raises  their  tone.  Tbe  head  of  the  instrument,  which 
is  at  tbe  And  of  the  finger  board  and  bent  a  little  backwards* 
conrists  of  a.hoUow  chest,  called  the  scroll,  in  which  tbe  for 
the  strings  are  inserted.  The  strings  ate  bstened  at  the  lower  end 
of  tbe  instraiiient  by  means  of  a  knot,  through  the  holes  of  a  small 
hollow  board,  called  the  tail  piece,  and  are  distended  in  the  middle 
of  the  body  over  the  bridge. 

'  *  Some  Insfruinentmaken  do  not  glue  this  beam,  birf  lmw  it  )ni,  hoUow- 
Ing  the  sonndtttg  Wrd,  M  tint  It  If  of  one  }dece  of  wood  with  theboud. 


m  we  KBB  AND  nosBBU  or  ■»£  viouM.  447 

Tlw'towof  nWftminical  inifnniienta  b  at  first  roogfa,  hanlt,  itnil 
■liff;  it  ia  only  hf  dint  of  placing  that  thej  acqnire  the  necessaTy 
KDOolInMU  tad  pDancy.  Violins  in  particalar  require  lo  bave  been 
used  fcr  mon  tbm  a  man's  age  before  the;  lose  Ibeir  oilgiDal  rongli- 
nesi ;  henoe  the  extmvagant  price  ofTeij'  old  vkilins. 

TfacMue  few  ontwnd  mariu  to  judge  of  the  geodMH  ofYintUi; 
thrir  tone  fixes  tbeir  valae.  However,  on  pnrebadng  a  violm  that 
is  Dot  very  old,  attention  most  be  paid  lo  the  size  of  its  Bounding 
board  ;  if  it  be  loo  thin,  tbe  lone  of  the  instrument  gtoiTS  vone  in- 
stead'of  improTing;  lo  the  angles  in  the  inside  being  provided  with 
little  blocks;  to  the  rim  un  the  periphery  of  tbe  sounding  board 
and  bottom,  which  tim  ouglit  lo  be  black  ebony  wood,  inlaid,  and 
not  a  mere  line  drawn  with  ink  or  black  paint;  and  to  the  partition 
between  the  sounding  board  and  the  bottom  being  properly  lined ; 
any  deficiency  of  this  kind  betrays  a  bungling  maker,  and  though 
f nch  instruments  have  eomctimes  a  passable  tone,  yet  they  promise 
neithei  its  improvement  nor  continuance.  The  violui  is  Strang  with 
fonr  cat^t  sWngs,  tuned  in  fifths  to  G,  D,  A,  E,  tbe  lowest  of 
-wbieh,  Tk.  the  G  itiing,  ig  cavtKd  vHb  silver  wire. 

Tbe  violia  ia  tiie  first  and  principal  instmmeDt  in  fnll  otchealrBS  t 
itpofemutbe  twohigiiett  prineipal  parts  of  mualnl  etnapeiilloM, 
asditii  at  the  game  tine  one  of  the  most  pleadng  ImfTDmcah  fbt 
the  pcrftmnauce  of  a  solo  part;  but  ttitf  violhi  is  jmlly  considered  la 
one  of  tbe  most  difficult  instruments.  The  tones  are  not  ready  on  a 
simple  touch ;  they  must  bcprepared  by  the  fingers  of  the  left  hand, 
and  obtained  by  means  of  bowing.  The  smallest  deviation  from 
the  exact  point  at  which  the  finger  is  lo  press  the  string  down  on  tlie 
fingering  board,  impairs  the  intonation;  and  this  precision  is  ren- 
dered still  more  difficult  by  the  changing  of  the  position  of  the  hand. 
The  proper  use  of  the  bow  is  also  attended  with  difficulties,  and  yet 
It'iatlM  bowing  which  gives  existence  and  expression  to  the  tones. 

The  riolia  has  within  the  compass  of  ita  (ones  not  only  tbediatonio 
oluomatio  scale,  like  most  other  iDstniments,  but  it  can  also  give  tbe 
qsailet  ta«a  or  the  difierance  between  two  adjacent  eohamoBio 
tonea. 

SoiHOMB  Cbrbbxo,  in  bis  tieaUie  de  PraUbia  JAu^  in  hb 
tnutaeratum  of*  arioDs  cobbiattd  performen  oa  dlflStranl  iurtnnnaita* 
IMag  atNa^  ia  the  year  1601,  makes  no  mentini  of'tfae  irioUn, 
fibfflwheBtoiniinayinJertliatiD  Italy,  m  wA  >i  ihiE^aadaiid 
fOL,  iti.  mo.  XII.  3  V 


446        OM  THE  BnB  AMD  FBOCBEn  OT  THE  nOUH. 

otlm  omutiiec,  it  ms  deemed  only  fit  for  Uw^waniB—it-of  tiie 
Tulgnr,  thai^h  ui  *  nty  fow  years  after,  it  vas  ■ilmi**'^  iMo  fhe 
tbcatie;  and  at  the  begiiuriiiff  <^  the  16th  centorj'  it  wmucb  4ad> 

tivatedln  Italy,  and  became  aoona^tlie^rincipul  of  concert  tnMra' 
inents :  from  Italy  it  passed  to  France,  and  from  Ibeiicc  to  England. 
At  lirsl  it  was  used  only  ta  accompany  tlic  voice  and  al  the  theatre, 
but  soon  Hfter,  it  was  introduced  into  the  cbnrcb. 

About  the  year  1650,  the  violin  wai  etleemed  ta  little  Uiat  tlie 
method  of  tuning  it  was  not  settled,  being  toned  by  fbikilbB,  audthe 
notation  taken  from  tiie  lablalure  of  the  late^  vbich  had  jwt  been 
transferred  to  tbc  viol  de  ganiba.  i 

GiusEppEi  GuAMi ,  iiiir.inisi  of  I:uoca  cithedral,  publiabed, about 
1588,  many  Site  red  motets,  and  ivns  a  celebrated  performer  on  the 
violin.  In  1580  (he  mass  in  the  great  church  at  Verona  was  accotn- 
paoied  by  violins  and  organs.  Adocbxinv  Aoazzabi,  bom  of  & 
noble  fiuBtly  at  Sena,  Siraa  Mooatro  di  CapeBa  Apollioare,  at 
Rome,  was  tbe  flrM  penon  who  iotiodaced  iMtrumeotal  ecneerta 
Into  tbe  tibntch,  which  howevet  seem  ^to  biive^  been  oaly  pudms  ao- 
Ciimpanied  by  vioUi»>  Casld  Fabiv a,  of  Haatoa,  pnUKhed} 
loss,  psvans  and  sonatas  for  the  vbib,  and  was  a  celebrated  per- 
former on  that  instrunienl,  in  the  serrice  of  the  Elector  of  Saxony. 
MiKiiAEi.  Angci.o  RoBai  played  very  well  on  tbc  violin  at  Rome, 
in  163^2.  PiETao  Ekedia,  a  Dilettante,  played  also  in  tbe 
church  for  his  nmusement.  Giambatista  Bassani,  of  Bologna, 
the  violjn  master  of  Cobelu,  was  a  man  of  extensive  knowledge  and 
abilities  in  Ilia  art,  and  wasan  excellent  performer.  His  compositions 
for  that  instrument  are  very  ^od.  Amongst  his  other  icorks  arc 
sonatas  for  (he  violin.  His  lifih  opera  in  particular,  conlaining-  fivclve 
sonatas  fcir  two  violins  anil  a  ba^s  is  much  esteemed  ;  it  is  ivtitlen  in 
n  style  wonderfully  grave  and  pathetic,  and  abounds  nilh  evidences 
of  great  lesniing  aad  fine  inveatimi.  The  first  and  third  operas  of 
&>RBLl.iareippuentIy  fbnned  after  the  model  of  this  work.  Bas- 
MHI  woBDnecrf'lbe  first  who  compOMd  motetB  for  a  single  voice,  ac- 
companied by  TioltDi.  GiosBPPB  ToBELLi,  of  VeiuDB,  was  an 
eminent  per&rmer  on  the  violin  and  composed '  a  great  deal  for  ft, 
during  tlio  latter  eod  of  llw  last  century.  He  was  a  meiaberoft&e 
PhithainKioio  Academy  of  Balogw^  Bad  fint  vfailiaatthe  chntchof 
SanPetronioin  Utatdty.  UoMswi^,  which  was  published  alter 
kt>-d«Hth.by.his  bniher,  £xbtci  ToMXU,  in  1709,  wider  tbe  IMd 


OK  THE  RUE  AND  FBOfiREBt  OF  THE  TIDUN,  449 


of"  Cemcertigrossi  eon  una  pastorale  per  H  taaltssimo  nMale,"  cotaislr 
iog  oC  twelve  ooncettoef  in  dght  parU,  which  has  been  Uiooght  a 
model  Torgiand  conceihw  Ibr  b  nnmennu  band^  of  which  be  is  by 
somebdd  tabe  the  inveotor.  About  Ihia  lime  Gidsbfpe  Vi.i.Bictiiii 
pnblUbed  in  Holland  nine  ilifieient  concertos  for  ^lini,  the  ceventh 
and  last  itf  which  were  Cbticerft  GroHi,.fbi four  rialinS)  tenor,  anil  two 
basses,  but  Ihej  have  been  long  consigned  to  oblivion.  Antonio 
VEaAciiri,  uncle  and  roaster  to  Francesco  Maria  Vbracini,  the 
celebrated  petformei  on  Ibo  violin,  publi&bed  at  Florence,  in  169S, 
ten  sonatas,  nnd  afterwards  Sonale  da  Cliicsa,  two  sets,  but  llief  do 
not  appear  to  Lave  possessed  any  great  merit.  Aiica^qllo  Co- 
nBLLi,  was  boru  at  FiisigJiiiiiu,  near  Inula,  in  llie  turrilory  of  Ho- 
logna,  iu  Februarj",  llijj.  lie  is  saiil  by  Ad  ami  to  have  received  bis 
first  instructions  in  counterpoint  from  Matteo  Simoselz.!,  of  the 
papal  cbapel.aiid  the  general  opinion  is,  that  his  master  on  (he  violin 
was  GiAUBATiSTA  DassamI,  of  fiologiia.  ll  has  been  said,  but 
withoi^t  authority,  that  Corkui  went  to  Paris  in  the  year  1672,  bat- 
was  soon  driven  tbence  by tbojcaloiisyand violenccof Ldlli.  Ho 
viiited  Qejnnany  ,sf1er  he  had  fiaiibed  hia  stadiei,  and  was  in  the  tec*  - 
vice  of  the  DukeofBaToria,  in  1680.  Soon  after  thia  be  retamed- 
to  Italy  and  aettlcd  at  Rome,  »bere,  in  1683,  be  published  his  first 
twelve  sonatas.  In  1685,  the  second  set  appeared,  under  the  title  of 
BailcUida  Camera.  In  1690  CoRELLi  published  the  third  opera  of 
liis  Sunalns,  and  in  ilie  fourth,  wliicb consisted  of  movemetita  fit 
fur  d. Hieing,  like  Ihe  second,  which  lie  c.illcd  also  Baiklli  da  Cai/iera. 
Abunt  thi^  tinif,  wlieii  the  o|icia  wa«  in  a  very  llouri^liing  slate  at 
Rome,  CoHHLLl  led  the  Imiul,  as  principiil  violiii.  llii  solos  ilp- 
pcared  in  tlic  year  I7U0,  wlioii  llirv  ui'rc  published  al  Rome  under  the 
following  lille  :  <i  i'toUmi  Vio'nnr,  o  Ccmlmlo,  Opera  quinia. 

Parte  prima,  Parle  seconda,  Preludii,  Alkmaude,  Corrente,  Gighe,  Sa- 
rpbeufd^t  GaxoUtt  t  Fs4lia,  CoasLLi  died  on  the  ISib  of  January,. 
J7I3. 

CoaBLu's  style  of  perfornuice was  leaned,  e1egant,and  pathetic, 
and  his  tone  firm  and  even.  Mn.  GEHiaiAtri,  who  was  well  ac- 
guninled  nithj  and  bad  studied  it,  was  used  to  liken  it  to  a  sweet 
trumpet.  A  ^eison  who  ]iad  heard  him  perform  says,  that  whilst, be 
was  playing  on  the  violin  it  was  usual  fur  bis  counleuance  to  be  dis- 
torted, bis  ^ea  to  become  as  red  as  fire,  and  bis  eye  balb  to  roll  as 


4ijO      o\  Tiir.  RISE  AND  rnoGREDs  of  Tiir,  violin, 

CoRELM  is  said  to  have  been  rcmarknblc  for  the  mildnesB  of  tiii 
temper  and  the  modesty  of  his  deportment ;  nenTtbdess  lie  «u 
not  insensible lo  the  respectduetohlBakillandcxqaidtepetfoniMUioe. 
Gibber,  in  the  apology  for  hb  life,  page  310,  relates  thatwlifn  lie  nu 
plftjing  a  aolo  at  Gabdihai.  Ottobohi'b,  he  dtBcoveied  the  Gai- 
oivAi.  and  another  penon  engaged  ia  dbconne,  npon  irbich  he  laid 
dinrn  bis  InstTament,  anil  being  aiked  the  reason,  gave  fiir  answer, 
that  he  fuarcd  the  music  interrnplcd  conversation, 

Tliat  he  was  il  man  orhiimourand  pleasantry  may  be  inferred  from 
the  following  story,  related  by  Walther,  in  his  account  of  Nicolas 
Adah  Stkuhck,  violinist  to  ErncsCus  Augustus,  elector  of  Hanover. 
This  person  being  at  Rome,  upon  his  arrival  made  it  his  business  to 
sne  CoREi.r.t ;  upon  their  first  interview  Strundk  gave  him  to  nn- 
dersland  that  he  was  a  musician ;  '  nbal  is  your  instrument?'  aslced 
Go  itBLM ;  '  I  can  play,'  answered  Stru.vcc,  '  upon  the  harpsichord 
and  a  little  OR  the  violin,  and  should  esteem  myself  extremely  bappy 
inigbt  1  hear  your  performance  on  this  tatter  instrument,  on  which 
I  am  informed  you  excel.'  Gorblt.i.t  very  politely  condetceikted 
to  thit  reqaeit  ef  a  stranger;  he  played  a  solo,  Stbdnck  accoia- 
paniedhim  on  the  harpsicord,  and  aflenrarilH  played  a  toccata,  wttii 
which  CoaBLLt  nas  so  much  taken,  tiiat  he  laid  down  his  iutrmeBt 
to  admire  him.  When  Stbokck  had  done  at  the  harpadmrd,  he 
took  up  the  tioUd,  and  began  to  touch  it  in  a  very  carelen  manner, 
upon  Which  CoRBLLi  remarked  that  he  had  a  good  bow-band,  and 
wanted  nothing  but  practice  to  become  a  master  of  the  instrament; 
ot  this  instant  Strunck  put  the  violin  out  of  tune,  and,  applying  it 
to  its  place,  played  on  with  such  dexterity,  attempering  the  disso- 
nances occasioned  by  the  mis-tuning  of  the  instrument  with  such 
araazing5killanddcitcrity,thBtGaReLLi  cried  out  in  broken  German, 
*  I  am  called  Arcangelo,  a  name  that  in  the  language  of  my  country 
signifies  an  Archangel,  but  let  me  tell  yon,  that  yon,  Sir,  are  aa 
■  Arch-devil.' 

Our  otnervittions  on  tiie  vorka  of  Cobblli,  saya  Sib  Jobit 
Havkinb,  may  piopetljr  enoi^  be  clasBed  under  two  beads, 
that  il  to  say,  theic  general  blalory,  and  Ihalr  pecuUkr  olunc- 
tat;  as  to  the  first,  it  k  confidently  asserted  that  they  wen 
composed  with  great  ddlhieration ;  that  ihey  were  rensed  and 
corrected  from  time  to  time  ;  and,  finally)  sabmitted  to  the  ib- 
spedioa  of  the  matt  skilfUl  mnsicians  of  the  aaUior's  time.  Of  the 


Digiiizetl  by  ( ' 


ON  THE  BUB  ASD  FROGBKU  0»  THE  TIOUN.  451 


toDBias  it  may  be  remuked  tliftt  Ihe  fint  Bnd  tiiiid  opera*  00DHit4if: 
fugaes  and  slon  moTementi,  witboat  uiy  ialnmixtiue  of  sin,  tbem  ■ 
Bje  termed  Senate  de  Chieia,  in  contndiotion  to  tboM  in  thoMooad 
and  fourth  opnaa,  vhich  are  styled  da  C&man  t  the  faraieri  m  us 
toM  Haxi RBiov,  mra  ntiuiUy  phjed  in  Ibe  oliandm  wAjtmA 
after  divine  aerriea;  and  the  whole  four  operto  fbr  nnoy  jeon 
fnniUied  tha  aeeond  motic  before  the  piny  at  baft  the  tbntrei  in 
^ondoD.  The  fifth  opera  consiits  of  tfaoK  solo^onatas  nhich  the 
author  Iiiinself  n'as  accustomed  to  perform  on  special  occnsioiis ;  there 
is  one  edition  of  them  in  two  distinct  paitti,  viz.  one  for  the  violin,  and 
llie  other  for  the  violoncello  or  harpsichord;  and  another  with  the 
graces  to  (be  adagio  movements,  vhich  some  bare  anapeoled  to  tie- 
spurioni,  bnt  they  are  in  one  of  the  Amsterdam  edltionB;  and  to- 
obviate  a  doobt  of  their  genuineness,  the  publisher,  Eatienoe  Koger, 
has,  in  one  of  his  printed  catalogue^  aignified  that  the  original  copy 
of  them,  as  also  some  letters  of  the  author  on  the  subject,  were  open 
to  the  inspection  of  the  cuiioni  at  the  shop.  The  last  of  (he  twelve 
ii  a  aet  of  divuutai,  Iwenty-fonr  in  number,  on  a  fimmrite  air,  known 
in  EnglaDd  by  the  name  of  Fnrinelli'a  GcooDd,*  and  ii  caUed  by 
CoBBLLi,  Follia.  Tbetwelflh  Sonata  of  Vivaldi's  Opera  Prima  is 
B  praxis  on  the  same  melody. 

So  much  for  the  general  history  ofhis  workst  asto  (heir  peculiar 
character,  it  may  be  said  that  to  enumerate  the  various  excellences  of 
tbu  great  master  would  require  a  particular  examenofhis  several 
compositions ;  of  hu  Sonatas  Mattheson  remark^  (bat  there  is  mote 
art  and  contrivance  in  them  than  in  hk  overtures,  i.  e.  bis  concertos; 
but  in  this  he  certainly  is  robtakcn.  The  6rst  opera  is  but  an  essay 
towards  that  perfeotioD  at  which  he  aflerwaids  arrived ;  tliere  is  but 
little  art  and  Ibh  invention  in  it ;  the  third,  eighth,  and  ninth  Sonatas 
therein  containad  are  almoat  Uie  only  ones  in  practice.  The  second 
opera  carries  irtth  it  the  evidence  of  a  genius  matured  by  exercise  i 
the  secbod,  the  fifth,  the  eighth,  and  tbe  eleventh  Sonatas  are  both 
leaniod  and  eleguit.  The  third  opera  la  tbe  most  elaborate  of  tbe 
Jogr,BsabaDBdlivinfiigaefc  Thefiiit^theftnrtb,tbesixtb,andtfae 
ninth  SoB^otthii  opera  am  the  most  dlatiagoiiliedi  the  latter  has 

*TMs ground wMcoinpoBed  fy— —  FAaiHSLLi,tmdetadwlamo9t 
■Iftr  Cuto  BaoMBi  FABnnu,  and  cempenls^  riolUi^  and  eooewt- 
naster  at  Hanover  abont  tbe  year  1S84.  He  *u  enooliled  bv  tte  Klu  «r 
Daimarl^  and  was  tty  Kbg  Geerse  I.  a^oialed  bis  reddent  at  Veoloe. 


Digilized  by  Google 


4BSt      OH  rax  RiiE  mo  procrehs  or  ms'nOKfir, 


down  tean  from  many  an  eye;  bat  the  Drhde  ii  n  excdint,  tkkt, 
exdnitye  of  more  fiuw]',  Uicie  it  sowrce  anj  notif*  fer.prtfMMMB^ 

and  deventbSoDBtag  excite  a  melancbolj,  sootliiBg  and  of  the  lOort 

palhelic  kind.  The  third,  the  sijclh,  and  lentb  are  gay  and  lirely  in 
an  eminent  degree ;  they  do  not  provoke  niirlli,  but  they  inspire 
chearfulncss,  gaiety,  and  every  species  of  good  humour  short  of  it. — 
01'  lii^  £oli»,  the  second,  the  Ihird,  llie  lilth,  sod  the  sixlh  arc  admi- 
r.iblc  ;  as  llic  ninth,  Ihc  tenth,  and,  for  the  eli-g<iiit  sweetness  of 
tlic  tiLciiiid  movL'jncnt,  thceleveiilh.  A  very  good  musician,  Gbok- 
aia  Aktokiotti,  has  remaitcd  of  tLe  fugue  in  the  first,  that  the 
melodj  of  tbeatd^ect  i»  but  iadifibrenl,*  bolcvery  ontfmnitown  (Iwt 
tbe  nibje^  itieU  ia  wdl  •oslaiaed, 

*iB4  tmUMBBiWed  L-Arta  AnoMda,  prfbUifaed  tt  Londn  at  1700^ 
p«C»  Si. 

[to  be  OOHTIHUnD.] 


TO  THE  EDITOR. 

ON  THE  GATBEDRAL  SERVICE  PERFORMED  BY 
VOICES  ONLY,  AT  WINCHESTER  CATHEDRA!,. 

'[TuEGervice  in  this  Cathednl,  awing  to  some  attonlioDS  and  im- 
pioTements  making  in  the  choir,  having  been  for  some  tipw  pstt 
performed  in  the  morning  chapel  at  the  east  end,  wlUiont  any  o^gan 
or  accompii[iimenl,  many  persons  have  expressed  an  opinion  tba^ 
for  the  purposes  of  devotion,  the  effect  is  superior,  as  t1)DB  perfonsed 
to  what  it  hereioforc  was  when  tlie  usual  accompaniment  of  aaoi;gan 
iras  added.  If  tliis  indeed  be  really  the  case,  tlie  Scotch  Pred>ytB> 
rinns  and  Greek  Catliolics  must  then  be  in  the  righl  for  excluding; 
all  instrumental  muaicfrom  tlieir  places  of  worship. 
..  Having  hqwerer  recetitly  bad  an  opportnoify  of  hearing  the  Kr- 
tice  on  n  Sunday,  at  "(finchnter,  mjiBelf,  and  hang  tbeiefore 


CATHEDnAL  BEBTICK. 


luailj  to  add  tay  testimony  lo  the  ffODderAil  accuiacj  wiUi  vhicb 
llic  choir  of  that  Cathedral  perfoTraed  Hates's  ereniog  Ktvice, 
and  Db.,  Blake's  antbem,  "I  have  set  GihI  alnaj'*  before  me," 
without  the  organ,  ^  nell  as  la  the  great  and  aniuual  effect  pnn 
duced  from  the  ptolms  being  chanted  by  Toicea  onlj^  I  am  jret  tax 
from  JEhIiik  iadined  to  dupitrage  that  noble  iiutrameiit,  the  orgmt 
or  to  auppcMD  that,  vbm  jiidktmali/  played,  it  can  in  any  degree 
weakap  Um  genecal  eftct;  kofrerer  that  efot  may,  and  fi»qnentlj 
ii  TWkpiMdby  tb«  mjadlcions  accompantnieiit  of  tho  otgan^,  vho 
boldbg  hiioielf  snperior  in  rank  to  the  genenlity  of  sEngars  nsnally, 
omplc^ed  in  country  Cathedrals,  is  too  apt  to  consider  bhuelf  as  a 
prindpal  inslead  of  »n  Ruxiliary.  In  orchestras  tlic  revenaof  Ihia 
is  the  case,  as  Ihcic,  instrumental  performers  of  tlic  first  class  always, 
consider  themselves  as  subordinate  lo  tlic  singer  whom  they  accom* 
pany,  without  respect  to  cither  the  eminence  or  inexperience  of  the 
latlcr. 

The  rcawDs  therefore  why  so  very  favotirablc  an  opinion  seems  lo 
be  fanned  of  Una  twoafcA(nr,Bppeu  torn*  to  be  tlw  following : — 
.  IsL  The  indfsorimiiiatoiiHaftheaesqiiWter  stop,  or  full  chorus 
of  the  organ,  in  all  cases  wbere  the  tira  sides  of  the  choir  sing  togc> 
tber,  alUungh  thevboleiiny  notcoiiiitt  of  man  Aan  InnaS  to  IS 
wce%  from  which  the  singers  are  apt  to  acquire  dther  a  hsmtiagf 
coarse  style  of  aingiDg,  oi  else  a  lazy,  inert  one,  leanng  it  to  the 
oigan  to  supply  all  deficiencies,  and  make  up  for  their  want  of 
exertion. 

2J.  1'he  hurry-scurry  mannei  of  playing  the  chant,  and  full 
parts  of  serricea,  See.  which  many  orgsnbts  are  too  much  in  the 
habit  of  adopting,  and  which,  particularly  in  the  fugne  style  of  com- 
jioaition,  is  aptto  perplex  and  confuse  the  singers. 

.  3d.  The  superior  care  and  pains  natorally  taken  by  singers,  and 
the  increased  exertion  and  attention  to  what  they  are  engaged  in, 
when  left  wholly  to  themselyes. 

4th.  The  novelly  of  the  circumatance  which  dispoaealhe  audi- 
tors to  judge  £ivorab1y  of  what  they  had  not  been  aware  could  have 
been  so  wdl  ocecnted  withont  the  usual  assistance  of  an  organ. 

.5th.  The  comparative  smaUneas  of  the  chapel,  and  compactneu 
of  the  present  Tocal  choir  at  Wjiicheiter> 

6th.  The  adrantage  of  an  able  conductor  in  their  own  bo^y/ 
leading  the  TOlcesaod  ocoasnnRlIj  marking  the  time. 


CATHEDBAL  SERVICE. 


And  lestljr,  it  should  be  recollected  that  nltbough  this  cboii  per- 
forms the  vhole  serrice  in  eo  mlisfactory  a  manner  by  iti  own  vocal 
powers  only,  yet  it  was  originally  trained  Tor  the  purpose  hy  means 
of  the  or^off,  without  tlie  assistance  of  which  it  woald  perhaps  be 
difficult  to  raise  a  new  choir. 

Were  Ibererore  organists  in  general  to  accompany  in  a  judioioas 
tnanner,  and  be  more  spnring  of  the  loud  stops,  and  aboto  niM 
hanyin^  over  the  cfaant  and  Rrvices,  ftc.  tbeti  giving  the  dngen 
Ml  time  to  proBonnce  the  ayllaUes  dbtincU;;  wen  likewise  the 
oboriften  to  take  the  same  pains  In  singing  with  a  judicfons  aecom* 
panlment  as  the  choir  Hlluded  to  noir  does  without  any;  and  were 
thej  generally  fumislied  (like  this  choir)  with  an  efficient  leader  or 
conductor,  to  keep  tlicm  (ogctltcr  in  the  more  intricate  parts  of  the 
services  and  anthems,  tlien,  and  under  these  circumstances,  I  can- 
not but  be  of  opinion,  that  nn  or^nn  so  fur  from  diminishing  the 
effect  or  solemnity  of  CnilieUral  service,  wonld  lend  greatly  to  in- 
crease  it;  to  aay  nothing  of  the  relief  and  amlratl  afforded  by  the 
tgmphoma  of  nerx  anthems,  which  cannot  bnt  add  much  to  the 
geneial  eflkt,  and  yd  ratut,  In  nwie  vDcal  ehidn,  be  totdly  ex- 
cluded. 

It  nay  howevet  be  admitted  thata  CaUtedralo^n,  ttsn  instni* 
ment  of  great  power,  requlrei  dlscrftAm  ih  the  uie  of  It  being  in 
fhs  power  of  any  o^nnitt,  nUboul  the  least  fa3ttre  In  respect  to  exe- 

culion  or  mere  aceuract/  of  pcrformBRCC,  either  greatly  to  heighten, 
01  as  much  to  mar  the  eflecl  of  ttic  composition  he  accompanies. 

Before  I  conclude,  I  wish  further  to  notice  one  particular  part  ^ 
the  service  I  heatiT,  namely,  the  responses  to  the  commandments 
(those  of  Dn.  Maso;^),  in  ivbich  I  could  not  but  lament  the  want  of 
an  organ,  as  the  singers  throughout  tlie  whole  ten  put  out  their 
voices  lu  (be  ulmosi,  nilbout  (he  least  attempt  at  variety  or  contrast, 
whereas  I  never  beard  any  organist  play  any  other  than  the  first  and 
last  responses  full,  the  others  being  always  accompanied  with  tfae 
diapasons  only,  or  else  the  choir,  or  the  swelling  organ.  In  ftct, 
an  organ  in  tbe  hands  of  a  pa-&nnet  of  skill  and  discretion  may 
have  this  eminent  advantage,  tbnt  by  means  of  it  a  cboiT  may  be  m 
tc^ed  a*  to  aecoamiodBte  thdr  rolcei  to  the  firte,  meiso  firUf 
jAmo,  Aid  }ri«tfstAm  of  the  ois>n. 


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455 


TO  THE  EDITOR. 

8», 

A.  nv  daji  dace  it  vu  1117  good  fortune  to  read,  in  tbe  Montin^ 
Ptatt,  a  mmmuy  ecconnt"  of  the  "  ttaok,  fiCc."  of  Uabamb 
Gatalaki,  since  she  left  England. 

I(  appears  llia(  after  her  deparlnre,  the  King  of  France  granted  lo 
Madame  Catalan!  Ibe  patcut  of  a  theatre,  the  King  of  Pruuie 
wrote  her  a  letter  and  sent  her  tlie  racilal  of  tlie  Roj'bI  Academy, 
similar  to  that  wliich  the  Qrcal  Frederic  sent  to  Voltaire.  "  Laden 
v/iih  hoiioun  and  preseiita,"  she  afterwards  went  to  Hanover,  and 
vai  received  by  bii  Kojal  Highness  the  Duke  of  Cambridge  "  with 
all  that  amenity  which  dislingDiihes  him."  At  Stutgaidt  ibe  m 
enchanted  the  late  King,  that,  kkob  miniiles  before  hii  death,  be 
pronounced  her  name  1 

Madaue  CatatiAni  subseqaentlj  visited  Munich  and  Vienna. 
At  the  latter  city  she  received  a  superb  present  from  the  Emperor, 
and  the  Magistracy  canscd  lo  be  struck,  expressly  for  her,  a  medal 
vbicb  "  bean  Ifae  most  hononiablB  inmiption." 

But  no  wbeio  doei  thb  dtitii^aldted  lady  appear  to  hate  been  re- 
ceived with  more  ecbtt  than  in  Rosiia,  whither  she  ircnt,  after  "  the 
most  preming  invitaliong." 

The  Emperor  and  Empress  seem  to  liavc  vied  with  each  other  on 
the  occasion,  and  it  is  dclighlfal  la  think  of  the  attentions,  the  pre 
senis,  and  the  embraces  which  Madahb  Catalam  received  from 
those  illuslrious  personages. 

I  must  by  1)0  means  omit  to  stale.  Sir,  that  much  of  the  flattering 
reception  which  Madahb  Catalani  every  where  met  with  was 
owing  to  her  extreme  goodness  to  the  poor,  and  if,  in  this  part  of 
tbe  acooant,"  there  is  an  eztiaordinary  attention  to  detail,  it  no 
doubt  proceeds  from  a  laudable  desire,  that  others,  taught  by  hex 
CKcellent  example,  may  "  Go  and  do  likewise." 

In  trntli  it  is .MASAna  G.-s  amiable  coniideratiDn  fiur  the  poor 
-wlucb  indnoes  me  to  trouble  you  with  this  address.  Alter  an  afasenca 
of  seven  years,  and  after  having  lefnaed  the  most  templing  offers 
whiidi  were  made  lo  indace  her  to  remain  on  the  Continent,  she  is 
again  returned  "  to  behold  England  a  seoond  timc^and  let  it  bear  ber 

VOL.  III.  XO,  XII.  3  o 


MADAHX  CATAUHI. 


voicc,non  in  gieatct  vigout  than  ever."  ForthepuTposeorietling 
Eugland  "  hear  Iter  roics,"  Uapamb  C.  u  how,  I  belkr^  tntTclliiig 
about,  and  a  engaged  toung  at  several  piiimi>dBl.meeting>:  tfak 
GircDnutancc,  Mt.  Editor,  brings  me  to  Ibe  jet  of  all  mj  obeevra- 
tions— a  recommendation  of  two  descriptions  of  poor  for  her  kind 
and  favourable  consideration. 

Tbc  firs  Idcsctip  lion  of  poor,  wboni  I  ivoutd  recommend  lo  Madavb 
Catalani's  notice,  is  ofion  composed  of  those  persons  who  onder- 
(ake  lliu  iiianagcnieiit  of  our  provincial  performances  of  moaic. 
They  arc  generally  country  masters,  whose  teaching  u  barely  ade- 
quate to  tlic  suppoit  of  their  families,  and  nlio,  therefore,  look  for- 
ward to  the  profile  of  a  biennial  or  triennial  petformaoce  to  relieve 
them  from  many  cmbarmssmcnts.  Sbonld  Mauamb  C>  honour 
these  lines  with  a  perusal,  I  would  bc^  leave  to  hint,  that  any  indul- 
gence in  the  lenns  reqqired  of  tbe  abotejmotioiiBd  pcnms,  for  tbe 
lUt^y  (rf'her  "  ottonisliiiig  powen,"  wmld  freqnanlly  be  the  merai 
of  conferring  a  lasting  benefit  on  theli  irivcs  and  ddUnn* 

A  MiC(Ad,lan3  mm  mmieroU  cfaw  (tf  poor,  dmermg,  in  my 
hanble  oiriawn,  of  Haoahb  C.*i  cfauilaUs  r^wdh  ooMitto  of  a 
great  proportion  the  Tarions  pct&nnart  wlio  ore  neconsfr  to 
make  up  a  large  orchestra,  and  who  often  hare  to  travel  hata  «  oofr 
siderable  distance,  and  aflenrnrds  play  or  ring,  ibr  a  nna  VbMi 
hardly  covers  their  cxpences. 

If  one  of  these  persons  attempts  to  remonstrate  on  tbe  low  rate  at 
wliicU  lie  is  remunerated  fot  his  trouble,  the  answer  is — "  Oh  I  I  am 
very  sorry  indeeil ;  but  you  are  certainly  aware,  that  we  mutt  have 
KlADAnE  A.  and  Signobs  B.  C.  andD.  and  they  yoQ  know  run  off 
with  every  thing."  i 

Such  persons  would,  assuredly,  be  benefitted  by  any  redaction  in 
tbe  terms  which,  of  course,  MADAMxC.haiwmuc^  right  to  demand  of 
m;  and  ai  the  talents  ofnose  among  tliem  can  be  put  in  compotitioa 
■with  her  tidents,  iter  modoatioo,  fn  this  reqiect,  when  made  known 
unto  bU  men,  vlU  be  the  mote  lemarkable  and  praiseworthy. 

Mostserionilybelteringifiomalll  have  hentd, that  Hadai(b<j. 
is  a  woman  of  a  lund  and  geneioDt  diapoiilloii,  I  sobmit  these  lUi^ 
for  her  OMBideratioD,  Ifaroogh  the  medium  ttfjonr  excdloit  JoDtnal, 
ami  tematn,  Mr.  Editor,  yonr  very  hnmUe  and  obedient  •errant, 
A  COUHTHY  MUSIC  MASTER. 

OcMtr  SS,  1S31. 


457 


MADAME  GAMPORKSE. 


StNCE  UlC  com  men  cement  of  out  Publication  no  singer  bos  appeared 
in  Engluuil  who  pteiicnts  so  IcgitLuiatc  n  model  of  pure  lUlian  style 
as  tliislaily,  Tlie  mnniicr  of  Madame  IIcllochi  wessouni],paner- 
ful,  u!nl  olierliTe,  but  it  was  sonicwiint  mixed,  aijd  never  could  be  said 
lo  rise  to  tliK  t-luvatioii  and  dignity  wliicli  (he  polisbed  object  of  out 
picsent  notice  lias  attained.  Of  Miss  Coniii's  distinguished  talent, 
we  have  already  spoken  at  large  in  our  second  Volnnie.  Mauasib 
Catalan!  towers  so  loftily  above  all  others,  by  the  force  of  her  ex- 
traordinary natural  gifts,  that  she  presents  no  general  model  either 
for  imilatioB  oi  to  be  quoted  as  a  lulc  of  science.  She  disduns 
nilet  and  tramples  npon  imposstbilitiet.  All  that  Madaub  Cah- 
pDKBu  petToTBii  isvUIiin  the  roch  of  snoh  faculties  &■  aie  com* 
moiily  found  in  singers  of  pietensioii ;  ber  taste  and  actiuiremenls 
bacomc  then  not  alone  Ihe  proper  objects  of  ezamimUion  aiid  des- 
cription, but  examples  by  vbich  it  has  been  justly  said — art  is  best 
taught. 

Madame  CAUPonBSE's  superiority  consists  in  her  style — that  is 
to  say,  in  the  sensibility  with  nhich  she  apprehends — in  the  delicacy 
with  which  she  modijica  and  rc&nes,  and  in  the  force  and  truth  with 
ivhich  she  conveys  sentiment  and  passion.  Thestandard  of  this  sort 
of  excellence — the  very  perfection  ofart — is  placed  in  the  synpaliiy 
of  the  heaters ;  and  it  is  certainly  a  curious  fact,  that  so  universally 
understood  is  the  language  of  the  lieart,  that  a  large  and  mixed  audi- 
ence, composed  of  persons  varying  in  station,  opulence,  feeling,  and 
knowledge,  throughout  . every  degree,  will  yet  almost  unconsciously 
concur  in  awarding  tbeir  fiat  of  (ipprobalion  to  tmits  of  juit  expres* 
sioQ,  DO  matter  what  be  the  d^^  of  fiwce.  Tbis  property  of  the 
judgment  Is  the  more  remarliable,  inatmoch  as  national  prejudices 
and  habits  unquestionably  modify  the  nature  and  the  manner  of 
venting  the  feelings.  And  here  perhaps  it  may  be  useful  to  cndca- 
vour  to  point  out  some  of  (he  leading  differences  in  luaonet  between 
the  Italians  and  the  English,  as  they  appear  in  vocal  art. 

The  Kalians  address  all  their  early  effbrls  to  the  fbmatioii  of  ailcb, 
sweet,  liquid,  or  is  one  word,  mellifluous  lone,  vhioh  is  produced  in 
So  8 


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MADAME  CAHPOBSSB. 


one  nnUbrm  method,  a1  waja  brought  from  the  same  place,  and  thongli 
rcgolaled  as  to  quality,  anil  transmuted  to  a  ccrlnia  extent  by  the 
force  of  rarious  expression,  according  to  tlic  sentiment  and  the  occa- 
sion, jet  preserves  sufficiently  the  reigning  quality  of  its  original 
nature  to  preclude  tliose  disagreeabls  efiecla  »  fatal  to  the  lundliiig 
train  of  emotion,  which  uiie  from  the  distinct  and  palpable  dife- 
ences  to  be  obsemd  in  ringers  imperfectly  educated  in  this  grand 
respect.  To  this  end  the  scale  of  an  Italian  singer  ii  completeljr 
formed  and  jtred  before  Die  master  ventures  a  single  step  beyond  this 
first,  this  important,  this  indispensable  postulalnra  in  fine  eiecation. 

Here  it  is  that  English  singers  first  feci  the  ftHiit  of  a  patient 
persevering  course  of  instruction.  They  quit  this  clcmcntnry  but 
fundamental  and  essential  part  of  tiicir  practice  too  sdod.  The 
consequence  is,  tlint  quality,  precision,  purity,  and  uniformity  of 
Toicin<^,  n re  often,  nay  generally  wanting.  The  power  of  producing 
tone  in  cxnctly  gitch  quantities  as  u  required — that  commanding 
feculty  of  increasing  from  the  smallest  perceptible  soond  to  the 
loudest  volume,  or  diminishing  by  the  nme  juit  gradation,  is  addom 
attained,  and  of  course  the  voicing  becomei  cTud^  iuiceitaui>  snd 
unfinished,  and  not  unfrequently  the  intoaatioii  if  not  ao  sore  at 
consists  with  the  species  of  practice  the  Ilalinnt  recwnnwod  ud 
pursue.*  Miss  Stephens  and  Una.  Salmom  are  ipleodld  excep- 
tions to  this  rule,  but  they  are  only  exceptions,  and  the  fbtmcr  at 
least  was  trained  by  Mn.  Lanza  according  to  the  Italian  method, 
until  her  less  judicious  friends  murmured  at  the  little  pn^reta  they 
astumed  she  was  making.  M&s.  Saluoh'b  natural  organs  are  ex< 
tremely  fine ;  but  the  attentive  hearer  who  listens  to  her  in  a  long 
division  will  easily  perceive  by  the  changes  of  the  vowel,  that  her 
vocalizing  has  been  unsystemalically  and  IraperfecUy  conducted. 

Among  the  Italian  modes  of  expression,  which  depend  upon  the 
combination  of  what  may  be  called  idiomatic  notions  with  peculiar 
technical  means — the  method  of  carri/mg  the  voice  from  one  note  to 
another,  particularly  on  distant  intervals,  must  immediately  arrest 

■  That  tbe  Ilaliaas  trcqnriiitly  sing  out  of  tune  must  be  admitted.  But  we 
attriliute  this  tact  to  the  ailranced  age  at  which  they  cammoDly  come  to  Eng- 
laui],  wbea  their  powers  are  oierwom — and  to  the  immeDse  msgnitode  of  tbt 
Opera  House,  wUch  compels  them  to  employ  more  force  tiian  (hs  throat  wiU 
bear.  To  fmrce  the  nrice  is  not  to  pniMi  but  to  depart  from  (he  Icmod  and 
the  nde  (rf  practice. 


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MADAHE  CAMTORBBK. 


459 


attention.  They  use  it  to  convey  tend^oas  or  patlios,  and  it  comet 
vpoa  ean  accustomed  to  Italian  taste  witi)  siogiilai  beauty  and 
effect.  They  execute  this  ornament  solto  voce,  and  vitli  great  ddi- 
cacy.  But  it  is  certainly  proper  to  tfaeraselvei,  oerlably  national. 
Genuine  Eogtiah  style  nnqoettionsbly  n^eet  tliii  grace.*  To 
Euglitb  eara  it  lotmdi  too  aflbmiiiatdy-r-^  like  tbe  diawl  of  afito- 
tation,  and  Indeed  nnleu  done  wUh  excemive  precision  and  delicacy, 
and  unless  applied  with  consummate  skill  and  taste,  it  has  such  an 
eS^t.  If  in  tbe  least  degree  too  loud,  it  deforms  and  reduces  the 
pasiion  and  the  passage  it  is  intended  to  elevate  and  adorn. 

Tbe  third  and  most  general  and  striking  difference  to  be  observed 
lictivccn  Iialtaa  and  English  style,  lies  in  tlie  superior  force  and 
transition  employed  by  the  Italians  n hen  compared  with  the  English. 
The  farmer  often  concentrate  their  utmost  poorer  upon  a  word,  and 
us  immediately  sink  into  tbe  sofleat  and  most  delicious  languor.  Tlie 
sober,  subdued,  and  ehatU  tenor  of  English  singing  has  not  hitherto 
admitted  such  rapid  and  powerful  putting  forth  or  reduction  of  the 
voice.  Bat  thb  loo  we  should  say  is  the  national  and  the  natural  dif- 
ference in  the  language  of  passion.  The  Italiam  kindle  suddenly, 
feet  intensely,  and  utter  what  they  feel  as  they  feel  it.  The  English 
are  slower  both  in  their  apprc^tenuan  and  in  tbdr  expreaion.  And 
lait,  notleoat,  all  tlw  gnat  Italian  nngen  we  bear  an  tnrined  to  (he 
Ibeatre— to  tiie  prodnction  of  dramatic  effiwi,  vhicb  raises  thdt  elo- 
cution and  ran'ea  the  colouring  Trhich  they  give  by  lone.  Our 
greatest  English  singers,  on  tbe  contrary,  are  called  upon  to  exhibit 
their  purest  and  finest  specimens  of  ability  in  (he  oiclicstra,  and  be- 
fore audiences  whose  peculiar  notions  of  propriety  would  revolt  at 
any  thiug  iMirdering  upon  the  manner  of  the  theatre.  Again,  the 
songs  which  tlie  really  scientific  part  of  the  English  nation  has  so  long 
been  accustomed  to  admire,  have  been  drawn  principally  from  tbe 
■aoied  works  oFHandel,  with  casual  interspersiousof  PoaceLLand 
Aehi,  and  have  been  sung  in  a  style  traditionally  delivered  from  the 
composer  himself  through  tbe  successive  generations  of  singers.  It 

*  Wc  maid  giving  it  a  name  because  tt  lias  been  confounded  with  a  word 
of  a  diSierent  signification — forlamotio,  wbtch  has  been  employed  by  classical 
writers  (Da.  Buhnet  amongst  ethers)  to  denote  pure  tooe,  nopolluted  by  the 
nose,  the  throat,  or  the  mOBth.  Straiebio  alto  has  been  osed  for  it  in  descend- 
log.  InEngliali  Ike  ||Sd»bas  sometlBiN  been  nsad  forit;  bnt  it  yet  may  be 
Mid  to  want  a  name. 


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MADAUE  CAMPORESE. 


ii  oalj  iritlUB  Ifae  last  (weatj'  yean  that  the  public  have  begun  to 
rriiah  or  even  the  ain  of  an;  eOua  coD^xMr.  Thu  tradW 
ticMl  il^le  i>  u  wboUy  freed  from  Italian  nodei  of  expranioa  at 

&Ma  Ac  force  and  e&d  of  the  theatre. 

Having  thiisclcaTod  the  ground  a  little,  it  irill  probably  be  better 
nDdentood  in  what  Has  ah  b  Camporcsh's  eiicdlciicc  consiab. — 
Her  leniibilil;  is  uncommolj  appicljcneivc,  and  &hc  embodies  her 
feelings  in  the  purest  language  of  Eoiiiiil.  Xiei  dccornlion  i«  simple 
and  powerful,  and  she  never  uKcrs  a.  word  or  n  note  in  vain.  She 
flings  to  the  benrl^and  conveys  even  into  the  little  ornament  she  uses 
the  power  of  expressiveness.  Tlius  elocution  and  execution,  under 
licr  dominion,  minister  lo  conception,  as  displayed  in  intellectUBl 
strcngtli  nnil  n  lieli  but  cullivaled  fancy.  Her  polished  judgineat 
can  distinguish,  her  taste  is  satisfieil  and  therefore  her  ambition  caa 
bo  content  vitii  taoring  the  high  a&ctiBH.  In  a  mvi,  she  kaom 
and  she  snpporta  tiiedignttj  of  bcr  mind  and  of  bar  art< 

TktUADAHQCAMVoRBMdocaWMtuAwithraeaiu  so  Unufad 
in  leipMri  to  isthecintonutaiioe  of  the  b^Mit  }HaiR^  Atnajr 
period  of  lier  lit*  we  prenme  her  compon  to  bate  i  mniiiill.wlj 
flouGned,  and  her  tone  mnling  in  volume,  aweetaen,  bi^Ifaiicy,  and 
ricfaDCss.  Now  it  can  only  l>e  described  as  somewhat  hard  and 
brassy — more  especially  in  the  upper  notes,  which  she  brings  out 
with  obvious  difhcnlty.  Slie  can  reach  B  and  G  in  alt.  and  »he  sings 
down  to  B  and  A  lielon-,  nn  extent  of  soroetliing  more  than  two  oc- 
taves— but  the  notes  can  be  said  to  be  good  from  G  (o  F  only,  and 
these  arc  not  line  in  tlicir  quality.  Flow  much  then  must  belong 
to  iatellcdnal  command,  when  with  means  so  inferior,  this  lady  can 
bnpfeneveiy  auditor  with  the  dignity,  strength,  and  feeling  of  ha 
tnanner. 

.  Her  intonation  is  generally  good,  though  not  infallible,  and  when 
It  Imltets,  ve  abonld  attribute  the  defect  to  force,  iodispoaition  or 
casual  faHnrs  of  the  throat,  ralha*  Iban  to  the  aligbteM  error  of  i&e 
jqdgment  or  to  want  of  ear ;  for  MAnAHB  GAUFORiaB'a  science  b 

indi£|Hilablc.  It  is  alike  manifi'st  in  what  she  docs  and  in  what  she 
dcelincs.  She  never  attempts  in  the  way  of  ornament  what  ihc  can- 
not perfectly  execute,  which  we  esteem  not  only  lu  be  one  of  the 
atrongcst  proofs  of  a  knowledge  of  the  arl>  hot  of  a  qualify  even 
mticb  taat^  lace— of  sell-kaowlcdge.  In  the  blaae  of  execatioD, 
which  is  the  panion  of  the  pivsent  day.  Madam  CAnreanB  deca 


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HADAUE  CABIPOREBE. 


461 


not  afiect  to  revel  or  delight.  She  ia  capable  of  perfbrniing  passages 
in  the  tegitimate  metbod  of  the  bat  scboob— citlier  kgalo  or  slaccalo 
at  she  wiUi — bnt  bet's  u  the  Irae  manner,  and  with  what  vrc  should 
term  deep-Mated  articuiation,  which  it  never  eo  exc^ivelj  rapid  or 
to  brilliant  as  that  vhlch  ii  performed  the  agency  of  the  tbioat 
vitb  UtUc  aid  from  the  chetC  NdUier  U  her  voice  of  the  Torj  flexi- 
ble hind  (hat  yieldi  vith  equal  facility  In  all  sorts  of  diTbiont. 
The  capital  property  of  tfiat  preparation  which  a  singer,  who  wonid 
excel  in  llic  truly  great  style  undergoes,  is  to  strengthen  the  voice  by 
the  practice  of  continually  sustained  notes,  for  impreHivc  tone  and 
powerful  declamation;  but  this  same  process  preclndes,  we  appn- 
head,  in  a  good  degree,  tbalfleutnUty  of  organ  vhitA  Ibeexcenirc 
execution'  of  the  day  demandi.  The  (lath  probably  b  that  tbe  two 
styles  are  incompatible. 

Tbe  modem  singan  of  I(dy  do  not  set  (be  nine  value  upon  the 
■bake,  or  employ  it  Hitbany  thing  like  tbe  same  frequency  Ihnt 
thowof  the  more  antientsGbooIs,  down  (oUie  time  of  Fabirellt, 
wen  accustomed  to  do.  The  nw  of  tbia  exprenive  otnameut  we 
^liUsay  is  now  very  rate,  and  certainly  not  so  well  andendood  as 
heretofore.  Madame  Cauporbbe'b  8hBkeIsn(d'brilliaiit,bntltia 
not  of  the  rapid  forced  species  that  is  now  erroneously  adopted  by 
all  except  the  few. 

We  have  (Itus  enumerated  the  principal  attributes  of  this  unques- 
tionably great  artist.  To  those  who  love  to  acknowledge  the  sapro- 
raacy  and  dominion  of  ttic  intellectual  faculties  over  mere  technical 
force  and  agility — (o  those  who  arc  susceptible  of  pathetic  expres- 
sion more  especially,  Madame  CAHPoaEse  will  afford  richer  enlcf 
taiament  than  any  other  singer  now  in  this  country — CAtALANi 
herself  scarcely  excepted.  Gatai.ani  fakes  her  hearers  by  slorm. 
Cahforebz  wins  by  more  quiet,  more  regular,  but  not  less  certain 
approaohet.  Upon  tbeelageher  mild  and  modest  iweetneM  is  not  a 
liltie  aided  by  tbe  enchanting  lofbiesi  of  bet  ^e^  and  by  the  ei^ 
quisite  sensibility  that  itliuninatei  her  fbatnns— while  in  the  mm 
quiet  exbilutions  of  the  oidtetlra,  die  has  the  lady*like  latf  tluf 
distiqpiiibeB  bet  amiable  and  Imly  pctisewortby  conduct  la  tbe 
walks  of  private  lif^  to  which  iheimto  lessanoinament  Uian  to  the 
proftnioD  she  dignifa. 


JUDAH^PAKT  THE  SBOONO. 


Iv  (he  proent  alate  of  moucal  afihin  the  worid  b  particularly  Is- 
debted  to  those  whose  productions  tend  to  counlenict  extravagance 
and  friTolil; ;  tlio*e  luiilful  extremes  that  form  the  t»o  principal 
diviiioni  of  the  "  fond  manjf"  of  the  counllesi  multilnde  called  col- 
lecliTely  the'  mnstcel  world.  It  is  tnuch  to  be  regretted  that  (be 
intellectual  few  are  generall)'  contented  with  tbc  Eolitary  latisfhc- 
tioR  of  contemplation.  We  want  the  generous  enlhosiasmthallorea 
the  labour  of  making  converts  to  science,  and  that  understands 
euoagh  of  hnmBQ  nature  to  bead  to  the  torrent  of  popular  applause ; 
to  be  silent  amidst  the  clamours  of  ignorance,  and  neotral  in  the 
conflict  of  clashing  prejudices,  yet  ever  vigilant  for  the  moments  of 
ImetmiMion  ftvmrable  fi>r  the  cure  of  popular  Insanilj,  hy  the  ad- 
ninistration  of  ntiond  and  snlutary  lenitives.  II  there  be  any  one 
object  of  mnstcst  science  more  important,  more  intellectual,  and 
more  proper  for  becoming  an  effective  instnimBDt  of  a  rerormatioo 
in  pnblio  taite  than  another,  it  is  s  nasteilj  acoie,  puticulailj  when 
connected  with  a  ikilfnl  adaptation  for  a  kejed  instrument  and  a 
6gured  base.  A  publication  of  this  description  pments  ns  wElb  a 
great  original,  excellentlj  translated,  and  enables  ns  to  gratify  every 
humour  of  attention,  by  sometimes  gazing  on  the  whole  prospect 
with  the  plensnrable  sensation  of  indistinct  emotions,  arising  per- 
haps from  tbe  consciousness  of  the  "feast  of  reason  and  flow  of 
soul"  in  OUT  power.  Sometimes  we  light  on  vocal  or  inslromental 
charms,  while  imagination  imbibes  the  honey  of  (heir  effects  by 
anticipation.  Now  we  trace  tbe  Brtinl  and  nnexpccied  visits  of 
responsive  meloily,  and  now  the  heart-strings  are  thrilled  with  elec- 
tric modulation.  Sometimes  our  attention  b  intensely  employed  in 
investigating  the  total  conitmction  of  ddachcd  passages,  and  now 
the  mental  tension  is  relaxed  by  reducing  the  whole 'to  a  piano  forte 
leMon,  or  by  trading  the  art  of  adaptation,  in  comparing  (he  piano 
forte  part -with  the  score.  Stich  are  the  advantagta  to  be  derived 
from  the  poblioalion  before  tu;  Imt  as  these  highly  intdlectaal 
pleuarea  are  In  onr  opinion  too  coldly  and  ■nperfloiaUy  toncbed 


Digilized  by  Googli: 


JUDAlf. 


npon  in  (rentises  on  the  principles  of  cmnpotition,  we  lliink  iLal  iii- 
sicad  of  cntcrine  into  any  aiialj  sis  tliat  would  only  be  intelligible  to 
those  who  needed  rot  the  information,  wc  miglit  serve  Mr,  Gaiidi- 
HBB,  the  art,  and  (he  republic  of  music  more  efibctoally,  by  endea- 
TOuriDg  to  Uj  a/Dundation  for  tbo  ttudy  of  music  in  score,  or  at 
IcBit  by  drawing  aoch  mllines  oClIiEs  Imponant  biancli  of  study,  as 
am;  pottDriy  cbeck  the  euni  of  thoie  a  male  on  vbo  are  pursuing 
diey knoiTDot  irbat,  mndy  for  want  itf  &  lolid  principle  for  the 
fimndntun  of  that  laaliiig  deli^i^  tbat  "  iuaeawof  appotile  wbidi 
grows  by  whatit  feeds  npon."  For  (his  purpose  we  shall  end  earonr 
to  adapt  our  iusfractioni  to  the  comprehension  of  those  habituated 
tu  the  ordinary  routine  of  musical  education. 

Music  in  score  is  a  represcnlation  of  the  whole  business  of  an  or- 
chestra, and  exhibits  as  it  were  a  map  of  the  vocal  and  instrumental 
provinces,  every  slave  presenting  the  tract  of  some  piirticulir  voice  or 
instruoient,  though  sometimes  it  u  found  ex pedieut  to  cuuijjrcss  parts 
for  two  or  more  voicess  or  instruments  in  one  slave ;  but  llie  comple- 
ment of  each  stave  is  described  in  the  margin  to  the  left.  The  num- 
ber of  voices  or  instruments  is  at  the  will  of  the  composer,  and  de- 
pends on  the  design  of  the  composition.  Of  course  choruses  and  sym- 
phonies are  generally  oom  posed  tor  mora  voices  and  instraraents  Iban 
ain,  diielB,  trios,  and  corapfliltioRB  of  a  lighter  cast,  or  of  more  sim- 
ple construction.  Of  voices  there  are,  properly  spealting,  right 
dasM^-firar  of  men's  and  four  of  women's.  Thoae  of  men's  ate — 1st 
the  bass  vtHce,  ddly  the  baritone,  3dly  the  tenw,  and  4thly  the 
connter-tenor.  Of  women — 1st  the  mesaoBoprano,8dly1he  soprano, 
Sdly  the  treble,  and  4thly  the  high  treble.  To  the  colleclive  or  in> 
dividual  scales  of  these  eight  classes  there  arc  no  absciliilc  limilii,  but 
the  general  scale  of  the  vocal  powers  is  bounded  by  V  below  llic  stave 
in  the  bass,  and  treble  G  above  the  stave.  Tbc  individual  limits,  as- 
cending progressively  Jrom  (he  bass,  generally  comprise  from  ten  to 
twelve  notes,  differing  in  compass  by  a  ratio  of  thirds.  Thus  the  or- 
dinary compass  of  a  bass  voice  is  from  F  below  the  stave  to  C  on  the 
flnt  ledger  line  above;  that  of  a  baritone  from  A,  three  notes  above 
the  lowest  bass  note,  to  U,  three  iioles  above  the  highest ;  and  so  the' 
scales  ascend.  The  principal  purpose  of  clifi  is  to  lednce  the  noto^ 
tioo  of  «uh  Tocal  part  in  geaeral  to  the  limitsof  a  stare;  for  this 
parposAtbebasiiHr  Fdiff  is  phced  (>n  the' foarth  line;  the  baritone, 
also  the  P  cliff,  m  the  third :  the  tenor  or  C'cUff  od  the  firnrth,  third, 

VOL.  III.  HO.  XII.  8  p 


m 


JVOAB, 


fec(uii],iuiit£t^linei;  for  the  leuor,  couolei-teuor,  mezzo  sopma^ 
fWd  Bopitno  yoioei;  the  G  cliff  on  the  seoomljuidfifriUaeslbcUtc 
treble  iv<d  bigjn  Ircbb  voicff;  but  u  sunt  «r  thou  cdiA  are  now 
jD^Hvpn;^  diavMd,  the  studeat  will  find  his  iimnediBle  atleotion 
quisile  to  tlie  tenor,  counter  tenor,  and  sopriuio  cliffs,  for  iiispieviont 
acquaintance  witb  the  treble  anil  bass  clilTs  is  to  ba  supposed.  The  C 
cliff  currcaponils  with  the  fin.t  ledger  line  below  the  treble  or  above 
the  base-  Vocal  music  consists  generally  of  nntcs  moving  bf  single 
degrees,  (i,  e.  in  notes  from  line  to  space  and  fiom  space  to  line)  in- 
ter;)! txod  with  sliort  skips,  and  llie  middle  notes  of  everj  class  uf 
voices  are  generally  the  best.  Tho  notes  of  a  bass  voice  commoiily 
move  more  by  skips  limn  tboie  of  other  voices,  and  tfans  produce  « 
Ifold  aitd  fuodaivental  eflbct  trebloorsoproaopaitiigeiiefally 
tl^  most  igGlodioas.  The  bric&st  descriptbn  of  Ui^  llmitB  uid  poi^ 
en  of  iMtrameDls  Is  hardly  compatible  vith  out  Umits  s  we  are  there- 
fore neceuarily  lesttioted  to  a  snmoiaty  of  faints.  IiwtTamenIs  of  the 
Iww  me  the  first  rate  aclcts  ia  the  orchestra,  and  cxccutj:  passage*  of 
^  desciiptioiiP)  while  the  wind  instruments,  (nliich  if  tuo  lung  played 
get  out  of  lime)  allurd  acbariuing  variety,  ami  su!ituitilhi:liiirinony  in 
pituw  orfbite  pauogcs,  or  melting  the  soul  in  monodies,  remind  us 
of  the£iblilai(s  haimony  of  the  spheres.  Tlicae  desultory  liinls  may 
perhaps  bp  enforced  by  the  following  sumtaary: — Parts  for  violins 
Off  ^ually  replete  with  animation,  effected  by  siaccati  notes,  leaps 
of  distant  intervals,  arpeggio  passagM,  and  extensive  chords.  Some- 
times, particularly  iu  recitative  accompaniment,  they  sustun  li»ig 
notes,  and  sink  to  exquisite  softness,  in  the  silky  tones  prodoced  by 
the  sordine  or  mule,  and  in  accompaniments  played  pizsicato,  L  c 
with  the  finger  instead  of  the  bow,  arc  extremely  delicate ;  and  these 
characteristics  are  applicable  to  all  instruments  of  bow.  For 
Tiv^ns  tiiere  are  generally  two  parts,  played  by  an  equal  niimbn  sT 
initroments,  and  the  potei  of  the  swpnd  part  not  uafteqneBtly  lam 
oluve  those  irf  the  firsL  HaathDysj  flutes,  hotna,  and  baewMDS) 
rally  ph^BBdainedBOtflBfOiimitata vocal  lualDdy.  Tbesoalaof Ite 
bom  andtinmpet  is  confined:  tfaeith,  Sth,  andTthof  tbekor  am 
notes  whioh  llieM  instruments  eiMuta  indlfibtently,  and  tbanfeie 
ruely  kod  taumently.  The  sharp  faarth  of  the  hay  hawavei  is  ia 
tbeiiical^andlndeedboiiisovnaoveieooleanyncitaBi  batinda^ 
•teal  qnsis  their  powen  an  found  lo  limited  asjAore  aiMitioaBd. 
Parti  for  the  bprni  are  alnaj's  written  in  ft»  key  of     bat  Cna>> 


JUDAH. 


465 


posed  accun'.ing  to  marginal  directions;  and  this  transposiliun  is  cf- 
fccled  men  tally,  by  supposing  3  oiiff  requisite  for  I  lit  purpose?  for 
the  knowledge  of  all  cliffs  enables  Uic  perfarmcr  to  givi^  [loti'.i  on  any 
liiMor  in  anj  space  nbatcrpralpbabeticol  oame  \te  chuee>  Tiie  bit- 
■incaittf  Uw  toMTi a  iBigBHMt  of  tMIh,  b  divided  behfcea  itactelt 
ootei^  Bintihnd  notoi,  Brpeggio  paatagUf  ami  nolM  in  nirfeoh  #itk 
the  viglamJdio.  Tbe  douUe  htat,  r  hrger  Mut  ttf  nokmctdo  and 
bavinf  thpes^tringt,  geaonlly  fbyl^thOTiolOBaelto  paria  imkioMite 
iMPcr.  Bstwliertoaiion,fi^e,andbnftBtioaofpnangMBieoofl- 
ramait.  iaifnimnntal  parte  freqnentlj  asunrilaleandedioeBdiotlter]' 
nad  rd^WMttamtedy  ahould  over  be  studiously  traced,  for  it  iW- 
den  unite tMnnecttve  and  colloquial,  approacliing  at  near  to  sence 
aa  tBartionlaia  lOUDda  can  come.  It  should  have  been  preriouriy  ns- 
marked,  timtacGompaniiuenta  are  generally  araignedto  thefenors  or 
second  violioB.  Having  thus  endeavoured  to  furnish  tile  young  riu- 
dent  vith  a  clue  to  the  noblest  arcana  of  musical  study,  ne  must  dis- 
mis*  the  meritorious  cause  of  these  prologoraena  if  ilh  a  brevity,  for 
which  nefaave  been  trying  to  make  an  apology  unnecessary. 

The  second  part  of  Judah  opens  with  a  cborns  by  Moziiitr,  a 
fugHC  The  dignified  gravity  of  the  subject,  and  the  spirit  of  its 
pragreu  are  cSectiyely  blent,  while  Ibe  bantbojv.eulivea  did  ttttitto' 
witfa  ftteooDd  gnl^Kit^nid  oftbeaetDHtoriBla  IhenBineor  fhe-Gom-' 
powr  0Man»  a  muterly  management.  The  »aratalioif  iiF  thb 
adapter,  though  faithful,  like  all  other  translations,  inevitably  parts 
with  some  of  the  original  spirit,  and  much  of  this  llcsin  lbee\(unsive 
compass  of  the  parts,  which,  however,  on  keyed  instruments  can  be 
partly  retained  by  aclapfatinit  for  two  ]KrfaTmers>  In  Ihe  fullowiiig 
recilatire  tlie  emphasis  ouglit  lo  lie  on  the  ward"  him,"  iitslendof 
"  rejected. "  The  quarlclt,  "Lo  my  Shepherd,"  by  IIatun,  is 
music  to  scotbc  a  tiaul.  The  double  thirds  of  the  haatbojs  and 
violins  in  the  subject,  an  effect  invented  we  believe  by  PiociHt,  is  a 
refreshing  streant  of  harmony  ;  tbe  two  last  measures  6f  the  sym- 
pfa«ny,  however,  have  to  onr  CHT  a  dlHtgreeoble  triteness.  In  page' 
im,  the  omilsion  of  F  Q,  in  tke  fimrlb  and  fifth  bare  of  the 
aeoatpwuBieDt,.at  th«bottoat  df  tin  ptgt,  mM  it«  thfak  be  radfe 
ekgBql,.  aad'  droid  the  oetsvas  wbMi'  are  ml  in  the  voeal  ptirti, ' 
IboDgb  tliey  are  fbund  ia^ha  initrimaUl.  Tbe  qnarfett  ia  tmhubA- 
byt  a>iiia*di  of  BnKFUimit's,  of  a  nogtittt  dinuMri  -  iH-tte  iol- 
lam'mg  ncilatifB.ia,.ira  (ktokj  anotber  ifM(wKe^el>tohe«U'  mpbitJ 
S  p  V 


4()6 


JUDAU. 


sis.  Ill  Ibc  Ecuk'tice,  Bujt  I  conii;  in  the  name  of  the  Lord,"  the 
eppbatic  word  shonid  lathei  b*  thaa  come,"  bat  Oat  foUaiviiig 
emphaiii  on  "  thou"  U  Twy  oppiopiiatB  ud  philippic ;  u  omiocroi 
harbuget  qT  Ibe  fa(al  stone  ttiat  vbb  to  humble  PhUistine  pride 
The  joyoiiB  cliorus,  "  Lo,  lie  Cometh,"  Haydn,  is  on  enliTeoiDg 
fMotimt  to  the  preceding  calm,  and  exhibits  a  happ^  renatilitj  of 
(alent  in  tlie  cumiKiscr.  The  heart  dincH  tbtoughont  lha  irbole 
eQi]BiioD(  and  even  criticism  Emooths  his  btow  and  sails  conlcotedlj 
down  the  stream.  The  oolj  specks  vrc  diicern  in  (his  lamiaarj'  are 
in  the  Ino  last  bars  of  the  two  upper  staves  in  Uic  accompani- 
ment, page  181,  where  in  the  treble,  under  the  two  Fe,  wc  should 
prefer  D  and  A  quavers  to  the  crotchet  C,  and  in  the  next  bar  D  for 
G,  The  hacknej'cd  cadence  we  objected  to  in  the  quartcit  concludes 
this  chorus,  but  here  the  accompaniment  of  quavers  counteracts  the 
dead  weight  of  (he  crotchet*. 

In  tbeenniing  reci(ativ^  the  tranntion  of  D  iri^  &m  flnli  (a 
the  dominant  otE  in  fcHU  ahaipi^  which  latler  baraumj  provea  the 
dondnsnt  of  A  natutat,  la  modalation  trolj  a-la-UaTdn. 
.  We  lore  gaiety  but  bats  noin ;  Aiidthflnfbie,nDtwithBfaiiding  the 
obTiDna  plea  of  classical  propiie(7,  we  can  dispoue  witta  the  accdm- 
^nimenlsof  (he  cjmbals  and  sisfmm.in  (hii  chonis  as  readily  m 
with  those  of  the  longs  and  poker.  Even  for  dtiuiu  and  trambonea, 
though  wc  would  not  absolutely  subject  them  to  Mtmciira,  we  bate 
confessedly  no  decided  parlialit;. 

The  following  recilative  and  cidlaqiiial  cboim,  descnptive  of  the 
charming  of  Saul's  wiathfut  ipitK,  am  gtaoefbl,  diaiaalit^  and  inU-  ' 
resting  throughout. 

"  Hark,  thelionhalh  raatM,"  Is  an  alrofmigfat,  notafmcnmriab 
We  would  recommend  the  yonng  stadent  (o  look  at  at  well  m  to 
listen  aUentively  to  the  Tiolin  cboidi,  at  page  1S8. 

"  But  the  Iiord  will  deltTCt"  is  a  pleasing  calm,  succeeding  (be 
fongoing  tempest,  and  prepares  us  for  (he  aSecUonale  air„  '*'n»- 
.beast/  (riTIamel  is  ilatn,"  an  aii  replete  with  Italian  elqpuoe.  The 
bannoBy  tnthe  first  oocurroace  of  the  word  *'lOTd,"bi»«jHiBB  tk« 
i^iit  <rf  nSiiclIon.  Then  baa  error  of  the  press,  in  (be  seooqd  bar 
%mtIieboUom,  (bat cnalea a liUle oonfuuoa.  TheA  InthetnUe 
■honid  bea  tamiqaavs',  and  the  G  a  qnavei. 

"  He  was  liken  moning  itar,"  ii  one  of  the  moet  beantifiil  dmMs 
we  em  met  wUh.  Tlie  inadiatiori  of  artificial  oomposition,  witta 


467 


iiilmediitg  mdodj,  is  one  of  tUe  happlesl  effiirti  of  Ibo  art.  The* 
modulstion  from  four  flats  lo  three  sbarps,  aad  (o  Cjf ,  ate  soientjuSc 
beams  that  cheer  both  crilic  and  amateur. 

In  the  eight  meunre-of  tbe  ban  to  the  reoitativ^  pi^9l4,  G*  is  - 
enoiteoailjF  iriiUen  for  **  Hellelqjah  to  tbe  God  of  IstBd"  n 
an  inipiring  chons.  tbx  intQeot  iadeed  ii  comnnn  enon^,  trat  it 
ia  commiMi  bDoaueit  u  dltctin,  and  the  e%at  is  hdghtened  its' 
beinit  fiat  TocbI  and  then  inalrumental.  Strict  sonnteipoint.  in  Uiia 
ftnlm^'wl  atjle  Is  not  always  oltended  to,  becanse  compositioBa  of 
this  kind  aregemxallj  played  more  fully  than  ibej  are  vriUeii;  ba( 
as  all  perfcwniers  canoot  do  thia,  we  should  pieftr  A  to  C-  in  the 
third  crotchet,  in  the  treble  of  (he  lliinl  bar,  from  the  bottom  of  page 
215,  aad  also  F  to  A|>,  and  B  to  G,  in  the  last  crotchet  of  the  sooond- 
bar,  and  first  of  the  third,  page  SIS. 

The  querfelt,  "  Call  to  rcraerabrancc,"  is  aniitlicr  instance  of  the 
combination  of  interesting  melodies  in  arlificial  composition.  The 
style  is  placid,  dignified,  and  deroul,  yet  never  heavy.  The  long 
division  on  the  word  **  thon,"  In  the  conntor  teim  and  tenor  parto*  - 
page  999,  and  the  snilaitted  notes' of  tbe  te^  and  basi,  is  a  happy 
Inlerobaage  of  duncter  hi  vocal  aetiim,  We  sbould  howem  ban 
pnfetnd  ^aia  B  In  iIm  treUe  of  the  fintbartn  the  Mxt  pag^to 
lbs  triiMilcHent<tf  the  scale,  whldiwe  wobU  ooofinsto  tbe  fint. 
'vtolin. 

The  air,  "  O  Absalom  my  ton"  though  in  the  minor  mode,  and. 
sireetly  plaintive,  does  not  we  tfainlc  express  paianfal  affliction  vlth 
sofficient  pathos.  We  like  the  rise  of  the  9Ui  in  tbe  boss  of  tbe 
third  bar,  page  235. 

"  God  is  my  song,"  is  an  air  that  improves  upon  ns  in  Its  pnogtCH. 
"  He  makcth  tbick  darkness,  his  pavilion,  and  oloads  his  dudling 
place,"  is  a  sDblirae  passage,  in  vhich  tbe  sndden  raodulation  fhm ' 
to  a  minor  in  two  flats,  is  very  powerfiil.  We  sbonhl  prefer 
the  omission  of  B  and  C,  in  the  basi  oTtte  accompanipaent,  at  tbe 
tenth  and  eleventh  bars. 

Uoaannah  lo  the  God  of  Israel,"  being  tbe  longest  composition 
ift  this  put  of  tbe  oratorio,  appears  to  require  the  longest  connnen* 
laryt  particnlariy  as  it  is  a  compoiition  altt^ether  seientifio|  'fix 
this  reason,  howsvcr,  it  is  bat  partially  intensting,  tiiongb  the  sab-- 
jeot  is  iHgnified  and  tbe  condnaioB.  taitglffa,  Fagam  us  necea- 
ssril;  so  lindted  by  mlei  that  perhaps  a  dieet  oF  music  paper  wonld 


Digitized  by  Coogle 


3VOMB. 


Conlain  almott  cvciy  aubject  fit  for  tliem;  thon;  arc  conBcqueiHIjr 
few  penoDi  to  whom  a  long  foguc  is  not  z^uyt  kkut.  If  we  cbbI  oar 
eyes  over  IhU  chorus,  wc  shall  see  a  frequent  recumrtice  of  fbar 
qnaven  on  (»ii(iguau«  degress,  two  descending  and  two  ascending, 
Bad  tUt  ftmilbti  punge  b  oalj  direnified  bj  other  group*  of 
qnOT«n,«qBall7  Irile.  OnegtratiiiBritintlisfngiMM>ftea*>nAX 
Bun  U,  lint  tbe7  am  geiMmlly  ahort;  for  eren  in  oomporfliHU 
where  every  TBrielyof  science  and  fnncyii  admissible,  at  concertos 
and  BymphonicBi  prolongation  will  tire  ercn  tlic  cnllivated  ear ;  (he 
sjmpbonies  of  Haydk  might  be  advaiitageoasly  cartailed.  Tberc 
is  matter  enough  howorer  in  this  tugae  to  icpay  the  ■tude&t'B  cott  of 

■  "  He  broke  the  idcrie  of  Bethdioinit,"  is  a  grand  and  descriptive 
chorus,  in  which  the  instrumental  parts  are  nearly  ai  interesting  as 
the  Tocal;  but  tnch  oom positions  are  not  nnfrcqncntly  mare  ef- 
ftotlre  in  the  hands  of  one  energetic  (lerformcr  than  in  a  band,  where 
deacriptivc  music,  partipularly  in  a  minor  key,  it  often  too  coarsely 
and  iadistincdy  executed. 

To  the  short  acclamazione,  all  known  and  unknown  instramenls, 
a*  Oto  aittrum,  gong,  tamburo  grande,  alaffelto,  8tc.  are  appropriate 
cMngh.  DovbtloM  there  are  iiutancn  in  wfalch  ercn  Hoin  k 
lovable  ia  an  onhestia,  and  we  may  deKcitd  to  (bo  watehidBii'i 
Tattle,  but,  in  the  name  of  common  seoae,  letaucA  "  huge  DpffMl" 
be  short-lircd. 

"  Sonsof  ZioD,"  is  a  charming  oantrast  to  tbeilioatiaf  the  popo- 
laoe,  but  to  this  airy  chorus,  "  tMin^  the  harp"  arid  weSooate,  b«( 
not  the  "  cymbal." 

"  It  i»  the  Lord  who  gtrcth  wisdom,'  ia  a  chMtming  nlf  in  two 
movcraenlsf  though  dborpha  of  the  old  aofaoid'  might  tidak  ittoo 
operatic. 

The  concluding  chorus,  "  Behold  the  bearen  of-hcBva»>"'iiiiBt 
wc  think  ijiilingut»hcd  by  any  roroarkoble  ctetaoteristic.  Dfiesnb* 
ject  is  too  tame,  and  minuet  tike  for  the  wortb.  We  OBMiM'temi- 
nate  tboa  remark*  wiiliout  ooHgralniaUng  tbe  laiUfnl  Ia*w  afcauk 
oil  tbe  aoqulritioii  of  aooh  a,  fimdof  ctonc.  aEctUeno*-  in  miioili 
Doaipaailion  M  this  detighlfol  Hketiao  di^ilayw  Ib^  it  aamto 
ooaBtemct  the  iaotdinate  feadnmfotTOWie  roputicn,  Mwao-pm*- 
lent,  and  lo  detrifflentat  to  tbeart. 


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460 


ZwfAcf  Ocdin  cmffridag  m  ^ttufgSeii  Courte  tf  Studki  on  tke 

£m  lieppx^t  hf  qf'Blitak  tU$  mtriomepmicfOm  Xfav 
rttkal  Pj/tlau  it  eott^iit^  nmpUfitdt  oMd  miy  r^gtHar  ^anmmf 
iUutlraUd  btf  a  tingle fifftre.  To  which  are  amextd  thtrt  Smt^t 
on  the  variout  Pkenomena  of  Sounds,  and  llie  indiipetit&le  rtquiiilm 
to  praciical  exceUenci/  on  the  Piaan  Forte,  concluding  nU  Skeickts 
of  the  Characteristic  Sts/Uoflhe  three  great  Masters^  Bj/J.  Reffi^- 
Muiician  tnordijianftohis  Mtfjesli/,    liondon.  Reliie. 

We  bave  already  noticed  a  former  work  of  Mr.  Rclpe's,  at 
page  493  of  our  first  volume,  whicli  appears  to  us  to  contain  moat  of 
vhat  Is  valoabls  in  tbi>  treotiKi  and  in  &  more  eovapact  and  more 
iBtsHEgibIs larm,  JLckMh  Onb indoed  seeinalo  tnanj'  tiling  bui 
lucid;  (brve  have  leldoai  met  with  a  treatbe  mare  luoscly  itorded, 
lea  pcffpiffnifpi  at  lew  mrtbodixol.  W«  boYe  no  doabl  but  Mr. 
R>Lva  ofeail^  aadcnUuidt  what  he  newsr  but  we  tiiink  it  qnfte 
impottibk  far  tn;  one  a>  unacquainted  with  art,  as  one  who  requires 
the  aMitlaoce  of  instruction  is  supposed  to  be,  to  comprehend  bii 
illuitrations.  The  second  sentence  of  his  tiook  runs  Ihua "  The- 
primary  relations  of  sound  are  formed  by  the  various  dispoutions  of 
the  several  lelters  of  the  miuical  alphabet,  from  whence  arise  9ds, 
Sds,  4ths,  &.C."  This  is  as  pretty  a  sample  of  imperfect  deRnition 
as  can  well  be  imagined — j  et  wo  may  say  ex  uno  disce  onmes.  But 
that  we  may  not  be  occuscd  of  too  hasty  a  condemnatiao,  we  ahall 
give  Mr.  RsLPfi'a  espositioa  of  tiie  method  of  forming  the  diatonic 
acale.  The  two  articles  preceding  are  heailed  "Semitones"  and 
"Tones."  lie  then  proceeds  thus : — "  Troni  the  simple  and  double 
compound  harmouies  of  Iliese  two  roots,  standing  in  tlie  relation  of 
a  fifth,  may  be  extracted  all  the  notes  necessary  to  furnish  a  com* 
plete  octave;  these  notes,  when  arranged  in  alpbabelical  order,  will 
produce  a '^yitesi  of  miid^  denominated  a  Sakmk  tcofa.  The  fint 
note  of  thia  duAmio  piagTMaien  fa  called  the  key  notOi  beeanae  it  is 
Ihe  priudpal  note  of  the  aerie*.  The  next  prineipal  note  ia  that 
which  la  used  oi  the  root  of  the  doable  compound  hamuny,  Aom 
which  the  acale  ii  partly  derived."  We  need  not,  we  appiehend* 
■ay  one  word  more. 


470 


IIELFE'R  LUCIDITS  ORDO. 


Of  the  merit  of  Mr.  Relfe'b  system  vrebave  alieadjr  gireo  out 
opinion.  We  think  bu  HiuclKduIa  certainly  ^plffio  (omeof  the 
flnt  principle*  in  the  stud/  of  hatmony,'  and  conTQra  a  dear  and 
M^Dotiniofllwoenilmotion  nttbotdv.  Hia  mMhad,  ufiu  ai  it 
goee,  ii  at  once  philowphical  and  fngenioiu.  But  Ua  "  Lueidat 
Onb"  will  perplex  radier  than  elucidate  the  matler,  and  it  In  all 
othn  rwpcclB  than  the  mere  mpetilion  ohhlB  part  of  hU  plan,  a  made 
book. 

The  cssnys  nhich  make  so  capital  a  ^gure  in  the  ttUe  are  con- 
templible  in  every  sense  of  (lie  worJ.    lie  thns  ditpaic/ies  Handbl: 

"  The  chefs  »r<E[ivros  of  this  ereat  master  are  his  stupendous 
clioruucs,  in  tvhich  he  surpassed  allTiigcnlcmiKiraries,  bu(h  in  boldness 
of  conception  and  sublimity  uf  style.  Seldom  condescending  to  Ihe 
lesser  elegances  and  graces  of  his  ari,  he  seems  to  have  conceived  llic 
whole  of  his  subject  al  one  glance,  and  to  imvp,  cxeculed  il  as  by  a 
single  stroke,  every  interior  part  fallini;  in  ivilli  the  grand  outlirie 
or  design  of  tlic  piece.  Possessing  a  mind  nbnndiuil  in  originality, 
he  disdained  n  borrowed  thought :  hediiphiycd  the  beaatics  of  har- 
mony in  snch  a  light,  and  csTiibited  its  powers  with  such  force,  as 
to  command  both  a  gcnerol  and  lasting  admiration,    'fhe  cast  of  hi* 

Sieces  fixed,  as  it  were,  tlie  tone  and  style  of  the  day  in  which  be 
ved ;  and,  to  the  present  lime,  his  tkalliless  works  require  no  other 
introduction  than  the  name  of  their  il/astrioun  author. 

To  thii  we  have  only  to  subjoin  Ihe  Inst  "  essay,"  which  we  do 
however  merely  as  a  specimen  of  line  writing. 

ON  ENTHUSIASM  IN  THE  ART. 

"  It  may  be  objected  Uiat  the  language  of  the  latler  part  of  this 
work  is,  in  some  instances,  too  strong  or  figurative  for  the  purpose 
of  elementary  instrnclion  in  a  science;  but  let  it  be  remembered  that 
music  is  not  only  the  object  of  mmce,  but  of  taste ;  and  be  who 
pursues  it  uninspired  by  a  sentiment  of  cntliusiastic  ardour,  can  never 
excel.  Here  a  colossus  in  science,  if  unmoved  by  the  true  passion  of 
liis  art,  is  at  least  but  as  an  eagle  ji:ilkout  pinions,  or  as  an  orb  aittoid 
fre;,  his  penetrating  eye  may  Irans-piercc  the  solar  beam,  he 
amoBt  toart  He  may  iUnmiita  Ihe  head,  but  he  can  never  inflame 
the  heart." 

At  thii  time  of  day  Mtt.RELPB  will  find  few  purdKuers  for  a  rrvskt 
ofairch  text  meandering  thtoi^  a  meadow  oTmai^gint  awl  «e  really 
regret  to  see  hi*  practical  knowledge  to  haetily  mixed  np  with  what 
J*  at  best  crude  and  valuelen.  - 


471 


BEALES  GLEES  AND  MADRIGALS. 

I.  A  First  Booh  of  Madrigals,  Gkfs,^.  &c.  for  three,  four,  tmd  f  tie 
Voices ;  composed  by  ffm.  Beale, 

II.  Jtcake  Sweet  Mind;  Madrigal,  five  Voices,  ditto. 

III.  TMsplestumtMmlheofMaie,-  Madrigal,  fottr  Vmces,  ditto, 
17.  What  ho!  Madrigal,  four  Voices,  dUto. 

T.  TheEoemag  Wtdk;  Glee,fotir  Voces,  ditto. 

VI.  Cfo,  RoK/  Olee,j>mr  Vmce3,£Uo. 

VII.  WhmnUsperingwiititi  Glee,  four  Votcttfdiao. 

ALL  PKIHTKD         BIBCHALL  ASD  CO. 

The  question  lias  soraetimes  been  agilatci),  whether  the  English 
IiHTc  a  school  of  muaic ! 

We  think  that  it  might  with  almost  eqoal  propriety  be  asked, 
nhclhcr  Ihej  haTe  a  language  and  a  grammatical  sjslem  founded 
on  that  language  2 

The  great  divisions  of  musical  compositions  are,  into  those  for  the 
church)  those  for  the  theatre,  and  those  for  the  chamber.  Now  we 
wonid  appeal  to  oil  oompetent  and  nnpnjudiced  judget,  whether 
the  admirable  worki  of  our  church  eomposan,  from  Tali-is  to 
BoTci,  do  not  entide  na  to  the  diitiDcUon  of  Iiaving  a  icbool  ?  In 
corieetnen  of  execution  and  inelaboratioii)  theBngliih  masters  ma/ 
occMionaTIr  yieU  to  thoni  of  Ital;,  and  we  ah^  look  in  vain  among 
their  writings  for  the  uncommon  harmonical  effecfa  which  always 
■eem  to  have  been  sought  out  by  (he  composers  of  Germany.  But 
in  the  highest  rcqnbiles  of  art,  in  the  power  of  stirring  up  our  best 
aSbctions,  and  of  disposing  them  to  a  devout  performance  of  our 
moat  sacred  duties,  English  composers  have  been  surpassed  hy 
those  of  no  oilier  coiiiilry ;  and  if  their  works  have  not  bt-i  n  ^TWlril 
with  llial  f;eiu;ra!  applause  to  which  they  are  so  justly  ciilillcd,  it 
may  be  attributed,  in  a  considerable  degree,  to  tliis  circumstance — 
that  by  far  tlie  greater  propotlion  of  the  musical  nations  of  Europe 
are  opposed  to  our  church  and  arc  ignorant  of  our  language. 

On  the  subject  of  our  dramatic  music  we  have  liltlo  to  say.  la- 
decd  we  thould  be  happy  to  pass  it  altogether,  sub  sllenlio,  for  it 
never  was  very  gnat,  and  ia  now,  with  the  exception  of  Bishop's 
worb,  most  deplorably  bad.  In  tespect  of  our  opera,  wo  certainly 

vol..  lit.  HO.  XVt.  S  Q 


BEALB'S  GISffi  IND  HADBIGAU. 


are  at  an  almost  imraeuimble  dbbinoe  behind  our  oontinnital  nelgb- 
bours.  MozAnT,  the  miglAj  Hozabt,  Chbbubihi,  MnauL,  and 
manyolhen,  have  oaniod  dnmatle  miule  to  a  height  which  aeeaM 
to  leave  as  nothing  bat  desptur— and  Artagergeu 

In  truth)  there  must  be  a  considerabla  change  in  (he  taste  and 
feeling  of  the  British  public  befoie  any  thing  like  a  complete  opera 
can  appear  among  them.  For  supposing  there  are  English  men  of 
genius  to  write  it — which  we  admit — and  supposing  that  there  are 
actors  sLiilicicntlj'  skilled  in  music  to  perform  it— «liich  we  deny— 
still  the  minds  of  the  audience  mustj  in  a  degree,  be  disciplined  and 
prepared  for  the  cnlcrtaiEmient,  otherwise  the  labour  of  the  composers 
and  the  exertion  of  the  performers  will  be  all  in  vain.  That  we  are 
not  in  a  state  to  encoarage  or  to  enjoy  s  &ne  opera,  will  surely  be 
admitted  fay  all  thote  vho  consider  attentively  the  music  which  is 
not  only  tfderated  bat  applauded  in  our  theatres. 

We  come  now  with  pleasure  to  consider  our  chambo'  music,  for 
there  we  shall  find  that  our  glees  afibrd  us  a  striking  and  pecidisx 
distinction,  The  English  glee  is  clearly  derived  from  the  madrigal, 
which  was  oAly  B  modification  of  the  ecclesiastical  islylc  of  compo- 
sition that  prevailed  when  the  madrigal  was  in  vogue.  Glees, 
therefbrej  savour  more  of  (he  church  than  of  the  theatre.  This  may 
beobaerved  even  in  the  most  dwatful,  which  have  a  cbastenes  and 
severity  of  style  nbout  them  that  is  quite  characteristic,  and  which  is 
entirely  des(roycd  by  any  passages  of  a  diamatic  cast 

GmcefttI  and  expressive  melody,  ptm  harmony  and  modolalitm 
carefally  studied  and  conducted,  are  the  elementi  which  compose 
the  really  fine  glee ;  and  when  such  music  is  united  to  the  poetry  of  our 
greatest  authors^  it  is  not  astonishing  that  it  should  possess  a  charm 
for  unsophiiticBted  minds,  of  which  many  other  species  of  com- 
position cannot  boasl.  Glees,  iudced,  are  the  peculiar  delight  of  all 
Snf^iihmen,  who  have  B  real  taste  f(»  music*  Theyare  identified 
wilb  oor  tastes,  mBonerSf  and  baUts,  and  whcB  sang  by  oar  Kbt- 

*  And  not  of  Englishinen  only,  but  of  all  the  enligbtoned  foreign  proftgloTt 
who  haicTisiled  oar  country.  It  will  be  enough  to  mention  Qatun.  Thit 
grent  and  amiable  man,  while  he  Uicd  hero,  became  a  Member  ofchc  Graduate 
Society,  vrbich  consisted  of  Daa.  Buatiei,  CALLeoTT,  Cooke,  sad  seieial 
mare  of  our  most  diBtingiuibed  uuriciuit.  To  tbem  he  would  otten  espcesi 
Ae  great  pleotore  whidi  be  felt  on  hearing  glees,  and  woidd  add,  wiUi  a 
snll^  ''Abl  I  wsre  to  st^  lung  enni^  b  Bn^d,  I  wonld  sm^  and 
write  gtosa  n^selt" 


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bbjUe'b  glees  and  madrigau.  473 

VETT«iaur  .Vaurkams,  our  Sales,  <ud  a  Ihousand  othsn,  tliej 
exert  an  infliKiiGe  over  (u  which  i>  not  oflCn  ejwted  bj  nunc  ol»bo- 
nteand-BcUficiBl  conpouliou.  Jt  mir>  faowewt  Iw  obtGrvadi  tint 
in  B  glee  the  composer  has  in  his  power  evei;  ^eoes  of  legUimnte 
musical  expicsaion,  even  of  things  which,  at  first,  seem  onl;  capahle 
of  being  expressed  bj  the  orclicslra.  Tokc,  for  eiaraple,  the  stonn 
movemeots  in  Webbb's  glcc,  "  VVbcniriails  breathe  Boft,"inCAi>ii> 
oott's  "  Father  of  heroes,"  and  in  Hobslbt's  "Lo!  on  yon  long 
rcsoaniiiiig  shore."  Persans  who  have  not  beard  those,  orBimihu 
inDrcmciits  ably  performed,  are  not  aware  how  &r  a  combinalion  of 
voices  msy  be  made  to  produce  in  ns  an  idea  of  some  of  liie  most 
striking  phenomena  of  nature. 

Tlie  composition  of  a  really  fine  glee  is  a  mattei  of  no  small  diffi- 
culty. It  seems  to  require  a  pecBliai  tact,  and  a  mind  deeply  im- 
bued with  (he  spirit  of  thoso  masten  bim  fffaoM  wfitii^[i  ft  may  be 
saidtodfiiifailBo^gln.  Hen<isitJa,thit)ibb(K^BMfTlK>^t»in- 
poses  glees,  few  excite  mnoh  sotioe.  S«ve  ho  too  obimBllet 
others  are  too  dmnatic,  and  in  &  eouidorable  fropwtim  an  wanting 
in-  those  trails  which  characrfmie  this  epeeiei  of  eomporftioii^  ani 
which  are  always  expected  and  fell  by  those  who  make  it  Uieir  rfndy 
and  amusemenl. 

Among  lliosc  nlio  liave  lately  come  forward  as  glee  writers,  Ux. 
Urale  litilds  a  very  promt iieut  situation,  ojid  the  few  remark*  ws 
iLave  jast  submitted  to  our  readers  have  been  intended  by  vs  as 
introductory  to  sone  obsarvfttMM  wbiith  we  shall  Make  oa  tbia 
gentleman's  compositioos,  tncBtioQcd  in  (be  title  of  the  pment 

Mr  .  BEAr.E,  we  believe,  received  the  rudimimts  of  his  musical 
education  in  one  of  the  Metropolitan  Choits.  From  his  early 
youth,  therefore,  he  has  had  repeated  oppmtunitics  of  hewing  the 
finest  poitiaB  of  our  naUoaal  music,  «iid  tjie  iavoanble  e6aet  which 
it  bos  had  on  his  titte  tug  be  pUialy  percaired  in  tte  cmpoiitiaos 
before  ns.  Uo.  Bbalk  is  also  an  excellent  vocal  peifomer,  and  to 
his  ability  in  this  respect  may  be  owing  the  truly  vocal  efieot  of  hb 

The  flowing  melody  of  eacli  part  is,  indeed,  one  of  the  most  slrik- 
ing  cboi^teiistics  of  Mb-  B.*s  writings.    They  am  not  moikcd  bj 
vigorous  invenfion ;  aconsiderable  pioportion  of  tbosti  abeadj  pub- 
lished Bee  piofessed  imUnlions,  bnt  they  please  by  the  poritj  of  their 
39  U 


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474 


BEALE'B  glees  and  MADttlGALS. 


Btylc,  and  (iritb  Mme  few  exceptions)  by  the  mailcrlj  maaner  ia 
wbich  tbe;  aieconttniGted. 

In  1813  onr  author  obtained  lbs  priM  cop,  giren  by  the  Madrigal 
Societj.  His  Goroposition  on  the  occadon,  lo  wordi  which  b^^o 
''Anake  sncet  Muse,"  is  Iiighly  creditable  (o  him.  Hiere  is  no 
noTCltj'  about  the  points,  all  of  which  have  been  consecrated  bj- 
time;  but  the parls  flow  in  a  moet  agreeable  manner;  and  some  of 
the  modulations,  though  thcj  never  lose  their  antique  air,  strike  us  as 
being  tctj  happily  conceived.  In  this  madrigal,  however,  there 
ate  one  or  two  inaccuracies  which  we  would  point  out  for  Mr.  B.'s 
notice  and  correction.  In  page  1,  between  the  filh  and  6th  bars, 
the  Ist  canto  falls  from  F#  to  E,  vliile  the  alto  folia  from  B  to  A— 
thus  making  two  fifths.  Page  6tb,  bar  14lh,  (here  are  octaves  be- 
tween the  alio  and  bass.  In  lha  8lh  bar  of  Ihe  same  page,  the  first 
nole  of  the  2d  canto  (bonld  be  Cf . 

"  This  plesaunt  ModUw  of  Mais"  ia  an  excelleiit  imUathm  of  Ibe 
light  and  pleasing  manaer  of  MobIiBT,  and  bis  ichooL  Tbe**Fal 
la  la"  it  very  iDgenionsIy  written,  eipeoiaDy  in  that  part  where  the 
bawafccnds  in  gnuluol  progrcoion  from  O  on  the  fint  lino  to  C 
tibon  the  staff. 

*'  What  ho!"  has  some  masterly  passages,  and  in  it  we  meet  with 
another  "  Fal  la  la,"  which,  although  constructed  on  a  very  common 
baimonical  progression,  docs  Mn.  Beale  great  credit,  and  is  well 
worth  the  serious  attention  of  the  student  in  Counterpoint.  In  this 
madrigal,  however,  oar  anthor  seems  to  have  forgotten  that  a  per- 
fect conBonnnoe  coming  between  two  other  perfect  coeaonances  of 
the  same  species  does  not  save  them. — Therefore  the  fall  of  the  Sd 
tenor  to  E,  in  the  4th  bar  of  page  1,  does  not  save  the  fifths  which 
that  part  makes  with  the  bass,  when  it  descends  to  A.  The  tmoc 
shonld  have  fallen  to  D,  and  should  have  risen  aAe.rwards  lo  £>'  We 
are  convinced  that  Ur.  B.  will  find  this  anangemrat  practised  by 
the  purest  contra-pantists.  The  bbiub  mm  will  be  found  in  page% 
bar  1!^  whcrethe  docoitof  OiebBssta  B  eanoot  be  nid  to  prenaf 
the  impreuion  of  fiiUu  and  ei^thi  between  that  ban  and  tbe  fint 
and  second  tenor  parts.  In  tbe  same  page  8-  there  are  cooBecnliie 
filths  from  the  7tli  to  the  Slh  bars,  between  the  ban  and  second 
tenor ;  and  consecutive  fifths  also  appear  in  page  6,  floin  tbe  Slh  lo 
Ihe  dih  bars,  between  the  second  tenor  and  alto. 

This  madrigal,  indeed,  seems  lo  be  written  with  laa.cara  than 
we  usually  discover  in  our  author's  compositions: 


DIgilizfld  by  Google 


BBALE's  GLEES  AND  HADHIGALS. 


475 


There  ti  yet  another  mndrigal  to  which  wc  would  direct  our' 
readers'  allenlion ; — we  mean,  "  Come,  lot  us  join  Ihc  Roundehy ;" 
which  is  No.  3  in  Mr.  Beai.k'';  collection,  aoiJ,  in  our  opinion, 
one  of  hU  happiest  elfoils.  It  breathes  of  j.ty  and  gaietj  through-  ' 
ant  I  it  u -simple  in  its  construction  and  modnhtioii,  and'  aocoids  ' 
with  the  beat  models  of  the  old  school;  and  mtbitik  Uuttbeie'ii ' 
mote  la  It  leall;  belonging  to  the  antfaor,  than  cm  be  finud  in  any 
one  otHume  we  have  pterioinly  mentioned. 

We  have  spoken  first,  and  nthet  in  a  paitionlar  manner,  of  Uk. 
Bulb'i  madrigals,  beeaose  they  >eem  to  na  to  form  the  mott  ' 
inteteatingpaTlionoffaiscoinposUioDshithertopnblished.  His  glees 
exhibit  nothing  remarkably  novel  or  forcible.  Nevertheless  they 
are  written  with  mnch  taste,  and  in  a  style  purely  vocal.  Indeed, 
one  of  Mb.  Bsalb's  claims  to  a  more  than  ordinary  share  of  notice' 
from  tti  is  founded  on  the  truly  vocal  nature  of  the  several  parts  of - 
bis  compositions.  His  works  do  not  appear  as  if  they  were  ham- 
mered out  on  a  pinno  forte,  to  be  afterwards  performed  by  instrn- 
jnentR;  but  it  is  clear  that  they  have  proceeded  from  the  mind  of 
a  man  who  is  well  acqoaintcd  with  the  extent  and  power  of  the 
organs  which  he  employs,  and  the  proper  use  which  should  be  made 
of  them. 

«  The  £venlDg  Valk"  nmlndi  ni  of  tie  maimer  both  of  VaxIov 
Boi  HixDLB.  Its  general  effect  Is  pleasingly  eharaderistic '  and 
soothing. 

Thefintpart  of  *'Go,Rose,"  Is  very  sweet  and  flowing;  but 
we  think  that  the  modulation  in  the  movement,  "  Guard  the  sweet 
shrine,"  is  abruptly  and  awkwardly  conducted.  The  repetition  of 
the  first  part  has  more  grace  than  repetitions  oflcu  bavc. 

But,  among  all  Hr.  B.'s  glees,  there  is  no  one  which  wc  so  much 
admire  as  "  When  whisp'ring  strains  do  sofUy  steal."— In  this  com- 
position there  is  also  more  that  really  belongs  (o  our  author  than  in  most 
of  the  others,  and  we  do  not  conceive  that  phtlosophictti  poetry 
could  be  set  to  more  philosophical  music  Were  we  to  pursue  the 
train  of  thonght  which  thli  obsetralion  anggeats,  it  would  lead  na 
beyond  the  limttatowbichwcarenowconfined;  bntwesballranme 
it  at  some  firtore  period. 

Meanwhile  we  would  jtut  bint  to  our  leRecting  readen  the  plea- 
sure which  oRen  arises  from  a  OMsidenUios  of  the  pecniiar  e&ct 


476 


SKiUfB  «UEItg  Am  HAfiUeAU.- 


which  lomfl  of  our  bett  vocal  oonpodliooa  derife  fiom  Uwii  jnsnl 
cfaanuilar. 

Then  an  «veml  etber  ^ecat  In  our  anllwi'acfUwIiwiAidi 
descm  Dotict^  alUioiigk  we  cannot  stop  'to  purUoaluin  tfaon  ni- 
ntitdjr.  "  Oh  hade,  ay  Love,"  u  wriUen,  alia  fi^ata,  yiitk  tiuUj 
and  el^nce,  especially  in  Uk  fiist  part. 

In  "  Now  the  Star  of  Day  u  high"  there  is  much  cheeffabsH  wd 
viracitj ;  and  "  Soft  Child  of  Love"  u  delicate  and  tender. 

la  concluding  our  obBetvations  on  AIr>  B.'s  conipoillions,  wc  mott 
again  repeat  that  he  appcus  to  m  moat  bappj  when  his  miid  it 
filled  nith  the  contcmplaiion  of  the  works  of  the  old  mattere,  ui 
when  be  todcs  himself  to  iotitalc  them. 

For  bringing  again  to  oui  recollection  prodactions  so  inteniliiig) 
and  in  aome  respects  so  worthy  of  imitation,  Ma.  Bsale  dewKi 
DDt  bttt  thanks.  But  we  hope  (bat  he  does  not  mean  to  ilop  bat. 
He  borrows  with  the  loRy  and  independent  air  of  a  man  Kho  e 
ooDMiiitif  thht  he  can  repay ;  and  as  he  has  given  snfficteut  piooftf 
his  tfaSilj  la  oopj  other  stjrlea,  .wo  (rutt  that  be  wiUgODDloiim 
Bad  baprore  a  itjrle  of  his  own.  ImaginatEoa,  like  eierj  tO» 
ftcili^rf  tba  knroan  mind,  isenlai^i^ed  and  tbKogOMteihjf^ 
lice ;  and  thej  wbo*  like  oar  avlhor,  clearly  prore  (hat  (hey  poM* 
genios  of  their  own,  mist  not  be  content  nlways  to  loui  on  Ihegcnf* 
ofotbei*. 


Spanisli  Melodies,  tcit/i  CharacUristk  Poelrjf,  wittat  ^  A. 
PlanchC;  Esq.  The  St/mphonies  and  Accimpa^/aaUt  Ig  CM- 
Sola.    LonJon.    Chappell  and  Co. 


Tlie  example  of  Mr.  Moorb  lias  already  becD  so  muck  fi^UHed, 
that  ire  have  natioual  ahs  fot  ahnosl  ever;  countr;,  from  Lapland 
lo  Hindoetan.  Bat  our  attenlion  has  bvcn  drawn  and  invited  (o  this 
newbrancb  of  the  old  stook  bj*  the  beauty  ofitgfuliage  and  its  fra  its. 
The  Spanish  Melodies  come  the  nearest  in  point  of  merit  to  tht; 
works  of  the  great  master  of  the  ut  of  selection  and  itilaplation— so 
near  indeed  da  thcj  approaolii  thatwoe  of  them  will  probahlj  - 
come  almost  as  popular  as  some  id  iba  Irbh  Melodies  and  the  No- 
tional  Airs. 

Tbe  hirtorjr  otSgwalA  uutc  is  ewapanlivdj  but  litils  hnma  In- 
this  country}  we  may  therefore  take  the  eppoitnnify  thisKtejtioa- 
aflbrdi  m,  to  coa?ey  to  oar  readers  &  slight  sketch  of  the  fIm  and 
progress  of  the  art  in  Spain,  for  which  we  are  indebted  to  fote!^ 
works. 

It  appears,  that  the  Spaniards  have  been  placed  much  lower 
amongst  the  musical  European  nations  of  the  sixteenth  ccnlary  ihan 
they  deserve,  by  those  who  imagine  that  Mora.les  was  their  most 
distinguished  mosician,  and  that  Samnab  was  the  only  theorist  of 
the  age.  In  fact,  little  is  known  of  the  stnle  of  masic  in  the  interior 
of  the  Iuiigdom,butto  jndgeby  the  masicians,  singers  as  well  as  com- 
posers, that  were  tent  lo  the  pontifical  chapel,  it  may  be  sapposed 
that  to  poirarM  asd  rich  •  iMtion  preserved  many  fbi  its  mm  m* 
Tiv^wddidBoiadimle  than  aU  fiiithb  Dsw^edas  af  taporta* 
(ion. 

Far  ftna  baTing  aciglectecl  nmio,  the  Sfaoiards  aot  only  appear 
altraya  lo  have  bad  a  teste  ibi  the  art,  but  to  bare  iaolnded  it  anungit 
tha  BcieaceB  tai^fbt  at  their  wtivarsities.  This  natoial  taste  ia  stiU 
discernihie  in  their  attachment  to  singing  and  the  sound  of  instm- 
ments,  even  amongst  the  lowest  classes,  when  in  tlicir  village  festi- 
vals they  play  on  instruments  peculiar  tu  (lu'ir  nation,  less  delicate 
pe^ps  than  those  of  the  Italians,  but  more  cap^le  of  rousing 
thepasdoos;  also  ia  their  Beraaadea,  norescvei,  taobaodi,  iudan* 
gas^  and  otbatspedes  of  dances.  Dai»g  tbeaaiitdlitBiapedod  of 


478 


SPANISH  MELODm. 


lit  SpsnIA  monarchj'  a  less  limple  kind  of  ninic  ma  in  mie.  Tbli 
ii  not  only  j^oni  by  the  Arabian  ain  rang  bj  (be  Moon,  rasnj  of 
wliich  m  rtitt  pieamedt  bnt  alu  by  pieca  of  Bpaniih  poetry 
written  to  tlieae  ain  by  Alpkdhio  the  Si^,  King-of  Goslile.  We 
must  not  omit  the  sacred  lepresentations  called  Villancicos,  which 
were  celebrated  ntlh  ^at  pomp  oa  Chrietmaa  Eve,  the  remains  of 
the  ancient  mysteries  of  the  panion,  nor  their  proraoe  feasts,  the 
tournaments,  qaadrillea,  carousals,  ani)  other  diveisioiis  which  were 
then  in  ^eat  vogue,  particularly  in  the  time  of  FsiiDiirAvii  and 
Isabella,  and  aRcrwards  of  Philip  U.  and  nhitdx  mn  allacom* 
ponied  by  the  roice  and  instmmenli. 

With  ngud  to  ntii^  oonsidend  ai  a  wienoe,  Salivai,  the 
pnBice  of  bb  tnatiae  i)e  JUniea  ny%  that  the  pbu)e  erf  proftinr  of 
iniiiio  cwfixrad  on  him  at  Salamaaca,  bod  boon  finndbd  and  en- 
dowed by  tbeiameALFiioxio  the  Sag^  who  died  in  ISU.  Uaay 
airilian  appeued  in  ^atn  befim  Salikas,  bnt  ^  lift  and  writ 
iqp  merit  more  paiticnlar  ntlantiou. 

FaAHCii  Salihai,  bom  at  Baigoi  in  IBlBt  was  blind  from  hk 
biitb,  having,  as  he  himself  expressed  it,  "nokcdin  Uindnen^ 
with  the  infected  milk  of  his  nurse.  Hia  parent*  perceiving  tint 
notwithstanding  this  evil  he  could  devote  himself  to  the  study  of 
mnric,  had  bim  early  taught  to  sing  and  play  the  organ.  It  was  by 
mere  accident  that  he  first  acquir^  the  learned  languages.  When 
he  was  yet  a  child,  a  young  woman  who  understood  latin  having  a 
great  deaiie  to  learn  to  play  on  the  organ,  came  to  take  lessons  of 
bin  at  biBfttber'ehoBK,  and  in  letQm  taught  him  latin.  His  pa- 
rents  afterwards  seat  him  to  Salamanca,  where  daring  several  ymt 
be  devoted  himself  exclusively  to  the  study  of  Oraek,  to  pUhwcK 
phy,  and  to  art;  but  not  bdng  in  a  stale  to  support  htraaelf  longer 
in  tiusnniversity,  he  was  placed  in  the  king's  palace  nnder  the  Areh- 
Udufi  of  CompostellB,  wht^  on  being  created  a  Catdnml,  iook 
SaiiIkab  with  him  to  Rome.  Hethareprofltedl^tiieconvenatlon 
of  the  leanied,  and  consulted  the  ancient  Greek  manmcripta ;  he 
gave  laiUcular  attention  to  thnse  which  treated  of  musicj  and  wbicb 
bave  been  since  published  by  M.EinoMrcs.  He  was  for  three  yean 
enq^o^ed  in  these  studies,  and  on  the  death  of  his  patron,  who,  be 
says,  lathec  lored  Ihut  entkbed  him,  be  detennined  to  retora 
to  Spain,  and  pes»  the  rest  of  bis  days  in  humble' obecnilty;. bnt 
an.Amfiiv  at  Rahnwca  bo  was  cieated  profeator  of  mnric,  and  be 


Digidzefi  by  Google 


SPANISH  MELODIES. 


479 


b^an  to  give  public  lectures  on  the  Itieot;  and  practice  in  that 
Uiilnnit/. 

The  doep  attntloA  ha  had  pMil  Bo ertui,  and  the  aaelmt  Onek 
tliDorlaMt  MndenA  hia  doctrinei  in  a  groat  degree  specnlatiTS.  H« 
confined  himself  almost  eotinl;  to  the  caloQlntton  of  Rlatioiu^  the 
dirniadi  of  thp  moBoahard,  the  lysfenu  of  teaipnaBieiit,  and  (lie 
muical  podantrr  of  hu  tiror,  ithont  entering  muck  into  the  notld 
of  barmonjr,  madulation,  or  even  melody,  except  that  which  wooltl 
Aimbh  Ibe  ecclesiaatical  mwlcs,  and  tbe  gpeciiu  of  tie  octare.  Hii 
IteallH  on  music  is  neverthelim  not  only  scarce,  but  in  many  re- 
spect! valuable;  and  though  he  rarely  treats  but  of  ancient  music 
and  orsjgtemi  which  are  no  longer  matter  of  discussion,  yet  ns  llic9C 
systems  are  tbere  explained  with  great  method  and  clearness,  ama* 
tears  of  such  researches  may  rejoice  in  possessing  s  real  literary  trea- 
sure, when  (hey  have  been  able  to  procure  thiivorki  of  wbioh  tb< 
following  is  tlie  title :  "  Frantuci  Salinns,  Bttrgauist  abbatb  tmeti 
Pancralid  4e  rocca  Seakgna  in  regno  Neiipolitimo  ef  ia  MMlnMsa  Sols* 
maallemMniubaprofiuom,  deti»oiealiMteplem,lnqiiliMi^d»e* 
trium  mHu^tt  tMt  qua ai himaAm  fwmi  pmairgthmm  perthetf 
juxta  teniat  ae  rOhMi  inSdum  orieti£iur  el  demoiulrtUur,  Salamim- 
(fne,  1577." 

)t  is  said  that  SaIjIiias  played  ndinirably  on  Ihc  organ,  an  instrs- 
mcnt  which  aj^ars  particularly  calculaloil  to  cicvetope  the  talents 
of  a  great  niuucian,  e*en  though  he  be  blind.  FnAKcnsco  Cteco 
in  his  time  the  firtt  organist  in  Italy,  Pothoft  in  Holland,  and 
STANi.aT  in  Bnglaad,  appear  by  the  perfection  of  their  playing  (o 
bare  gnlned  rather  than  lost  by  this  calamity.  Miltom  knew 
enoogb  ef  this  insfrnment  to  amuse  himself,  and  Handel  became 
enfitely  blind  towards  (he  end  of  his  life,  but  continued  to  be  the 
delight  of  thoM  who  beard  him-  Saliitae  died  in  1790,  aged  77. 
Hia  laicnii  aad  piofi»nd  horning'  are  ulnowledgett  by  tbe  most 
cskbrated  ItdiraaiUWn,  such  as  Zabliho,  Yimcbrt  Gaulei, 
J.B.  DoRvAo. 

Tbs  WDik*  of  OBimroM  MoBALCt- were  pnUislKd  and  eele* 
brated  thnraglioiit  £nrape  from  Am  year  IHO  (o  i5H.  He  pro 
oedcd  PjrLMfVXW*,  who  wa*'  M  twelve  years  old  when  Mo- 
RAMK^t  8Mt  wmk  Rppeared.  Besides  several  pieces  pnUisbed  at 
Tnjct  n  oottaoMe*^  among  those  of  Gasta»xo>  Fmta,  Adrim 
WsiAnn,  and  ollWr  Sustrioov  conpowm,  he  ktwhA  tw»volames 

TOL.  III.  MO,  XII.  3  & 


4Q0 


GFAHIta  HBiODlHi 


of  mosKf  fur  four  and  five  voicet,  ptainu,  matells,  Om  baeniatioH 

of  Jeremiali,  &c.  Till  the  moment  svhca  Liie  style  of  pALBnRIItA 
cflaced  all  ullicrs,  the  composiliutisof  Morales  wore  in  high  favour 
at  Itome,  iii  tlii:  ptiulirical  ciiatiel.  lie  was  one  of  the  lingen  in  (hit 
chaiMjl,  uiiiltT  llio  [mnlifiCiilu  of  Paul  III, 

Thomas  Luuis  Da  Vittouia,  ii  native  ofAvila,  nnoflicr  ccle- 
brfited  Bpiiiiish  cumposer,  «ns  also  a  singrr  in  llii:  same  clispci.  He 
vias  a  shilfid  hariTioiii^t.  11c  \va;  tlic  tirst  (o  pulilisli  in  an  extended 
foiFii  molflts.  lor  fUTj  fetivai  in  the  year,  in  separate  parts,  and  in 
l\ni  pag'.'-s  racing  r-.ich  ullirr ;  the  nolea  wcic  so  large,  that  four  and 
often  ciglit  siiii^crs  rcnti  Ihcir  partn  frum  (he  same  book.  HU  mo- 
tetts  wen)  printed  at  Rome,  in  1583.  He  lind  published  (wo  yean 
before  a  colleotion  of  masses,  dedicated  Ui  Philip  the  Secohd 
Spain,  His  mass  for  the  dead  and  penilentlary  psalms  were  mod 
eeteeaeil  in  his  liiae. 

CABLOI  PaTINO,  JfAN  RoLDAW,  VlKCBKTB  GaBCIA,  IfATtAI 

JoAit,  YiANA  OvBBBRBo,  of  Seviltc,  FLBCKA.of  Catalonia,  Ob- 

Tiz  and  Gabf.zon,  of  Madrid,  Inpantas,  of  Cordova,  DoiiO)r,of 
Estremaduro,  AzFiLDUETA,  of  the  kingdom  of  Nstatk, appear ia 
the  musical  catalogui's  of  Ilaly,  the  Low  Countries,  and  Spain,  in  (he 
sistt'cnth  century.  To  these  may  be  added  many  more  ionoroui 
names  ut'muiiiciiiiis,  eumpustrs  as  tvell  as  performers,  who  then  con- 
trilinleJ  lo  Ihe  pleasures  ol  their  own  country,  and  many  of  the 
other  European  iialionB;  Lut  wc  have  enumerated  enough  to  excul- 
pate the  Spaniarils  from  the  charge  of  a  slow  progress  in  an  art, 
which  at  (his  and  even  in  all  ages  has  been  so  connected  with  the 
language,  poetry,  and  civilization  of  a  people,  in  whom  the  having 
neglect^  it>  cultivation  has  been  regarded  aa  a  proof  of  barbarism. 

But  it  WBB  not  till  the  MveBteentb  cmturr  that  the  melo-draow 
HU  intibduccd  amongst  Ibon,  aUboagh  they  had  long  possessed 
miuical  taito  and  national  muaio,  and  i(  bad  been  employed  in  Ihdr 
theatres  iiom  theit  orlgb.  Tbo  first  nho  inttodBced  it  traa  Lofbi 
OB  BnBDA,  who  efibcted  for  Spain  what  Tubspis  did  for  Greece. 
In  his  liroc  (hey  sung  old  airs  iKhind  the  scenes  called  Rommaa, 
romances)  without  accompaniment 

MAHAnBO,  of  Toledo,  if  we  may  believe  Cehvantes,  of  Saave- 
dra,  in  the  prologue  to  his  comedies,  oMigcU  (lie  musicians  to  ap- 
paaf  on  the  stage  before  the  public.  BBaRio,oBe  of  therertoreraof 
dramatic  itjle,  incieaaed  inatmmienlal  miuic  by  doobling  Ibe  nnmber 


SPi.NISH  UBLODIES, 


and  quality  of  oicfacstial  instrinnenU ;  John  and  Fbamcei,  of  Coe- 
IB,  iutroduced  tbe  custom  of  unguig  in  the  inteilndet,  which  in  Ihb 
infanc;  of  theatrical  arts,        performed  by  blind  ebHdren. 

The  Sajncttes,  a  tpeoiea  of  agieeable  inteilude,  irbtch  are  on  ths 
Spanisb  stage  the  image  of  reat  ctnnedj,  and  in  Ivbich  D.  houia,  of 
Benaraite,  in  the  lait  centDi;,  and  D.  Betkoks  sh  £a  Caoz,  in 
(he  pment,  acqnireit  so  much  reputation,  served  greatlj  to  encon- 
rage  theatrical  music.  Tbe  scene  is  often  opened  by  a  chorus,  and 
lometimf^  musical  dialogues  arc  introduced.  Tkc  Toiindillu^,  or  a 
species  of  comic  airs  sung  in  them,  may  dispute  llidr  ciaitii  (i>  comic 
vivacity,  with  any  other  musical  composition  of  any  nation. 

In  the  first  years  of  tlie  reign  of  Philip  the  Seconb,  the  custom 
tvas  introduced  of  singing  ducts  and  trios  in  tbcir  camedi|S,  and  the 
melodramc  nould  have  been  sooner  known  in  Spain,  but  on  one  side 
tbe  devotional  cbarscter  of  Philip  the  S£oohi>,  an  enemy  to  the 
pleaitueaoftbestage,  andontheotber,  tbepreferencegivonby  Pui- 
I.1P  the  FotFRXH  to  national  cnnedies,  led  tbe  attention  of  the  pub< 
lie  into  another  diieclion.  It  vas  then  that  Caldbsor,  Mohtal- 
BAH,SoLi8,  HoRGT,  and  SO  many  othen,  diitinguisbod  tbemidra 
under  the  banner  of  Lopez  be  Vbsa,  tbrir  predecessor. 

In  a  letter  from  Don  Angsi-o  Ghillo  to  Julio  Calcini,  it  is 
stated,  that  (he  new  dramatic  music  invented  by  Peni,  had  passed 
from  tbecourts  ofthc  Italian  princes  to  those  of  Spain  and  France. 
If  this  be  true  it  would  prove  (hat  the  opera  was  transplanted  into 
Spnin  a!i  souii  invcntix]  in  Itnly.  BuISbnoa  Artbaoa,  although 
a  Spaniard,  and  very  jealous  for  the  glory  of  his  nation,  avers  in  his 
revolutions  of  the  musical  theatre,  that  notwithstanding  all  his  re> 
«eucb  to  verify  the  epoch  pointed  out  by  Okii.lo,  he  could  not  ^ 
cover  it,  nor  find  any  notice  of  any  drama  in  muiic  bef<»c  the  rdgn 
of  GnABLBi  theSEooiTB.  On  tbe  marriage  of  tbiskingwitb  Ma> 
stA  Amna,  of  Ne^bomg,  dmtmu  were  reprcnnted  with  LutiiT's 
music.   The  Rtat  -wmJnmda. 

Buta  short  time  after,  as  French  masic  did  not  please  the  nation, 
musicians  and  singers  were  imported  from  Milan  and  Naples,  to  per- 
form Italian  melodramesat  Madrid.  From  that  time  they  liave  always 
been  supported  with  more  or  less  favour.  The  Dtst  singers  in  Italy 
have  been  engaged  at  the  theatre  at  Madrid.  During  the  reigns  of 
PniLiF  FiPTeand  Fbrdihai!d  tbe  Siitu,  when  Fabih bcli  wju 
fint  singer,  mntic  wa*  at  its  greatest  elevation.  It  was  suXained 
Sa  S 


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SPiHISH  HELaDIU. 


imder  Ihi  Inttraklng,  less  by  llic  protcctloR  of  tkemciBsrcb,Wbodid 
mot  like  it,  than  by  lbs  nalioiul  tule,  vhiob  tm  Om  hmed,  and 
alto  bj  the  Mrag  iBCIUiatiox  ■hewn  towarda  it  by  f  lie  infant 
-  Tlte  Bcrioin  or  grand  opto,  is  onlj  mag  in  Julian  on  Ihe  Hedrid 
■lagc^  bnt  tlte  lyrio  conody  bad,  at  we  have  seen,  been  long  known  in 
the  ionoTODi  and  poaticallangaagBoftheconntrf, a  language  atlcM 
as  mntical  as  the  Italian.  Besides  the  Sm/netle,  already  roenlioned) 
there  is  the  Zarsuela,  a  species  of  lyric  drnniii,  nivjtly  resembling  the 
Frenoh comic  operii,  a  mislLire  of  proii-  :irul  sin^'iii^'. 

The  dialogue  is  s|)ok(!ii,  bul  iiilerniiiloJ  by  iiirs,  duels,  trio*, 
qnarletis,  and  ercn  chonissea.  Tliia  miiiure  of  speaking  and  ilng- 
iag,  hotrerer  unrensonablc  It  may  he,  doei  not  shock  the  Spaniaidi 
moie  than  oaraelvcsi  so  much  iu  arias  well  as  in  liamanaffhire  doea 
habit  and  oottom  bear  sway. 

The  ntmSlla,  wbioh  was  at  first  only  a  simple  and  popular  long, 
used  la  Uis  Zanaeta  and  Sai/nttle,  t^anmia  somelimaa  of  a  whde 
SOODO  and  sometimeaof  an  entire  act,  according  to  (ho  danlion  aad 
ortent  of  Ibe  nclion  it  lepTCsents.  The  Spaniards,  allaebed  to  their 
iMlianalniutlc,  complained  of  the  abnaes  introdaoed  into  the  Ttmeda 
and  Tona^iat  at  having  dettroyad  its  obaraoter.  Some  they  My, 
treat  a  fhmillar  sobject  in  too  elevated  a  style,  and  give  shepheidi 
aitfl  worthy  of  Iicroei ;  others  clothe  them  in  foreign  colours  althoogh 
Iboy  have  nothing  in  common  either  with  them  or  Spain,  while 
others  again  are  constantly  seeking  forced  transitions,  and  are  erety 
moment  changing  the  key,  mode,  subject,  and  tim^  sothsitlieear 
no  longer  enjoys  those  simple  and  easy  melodiei  which  conttitattd 
(he  charm  of  this  indigenous  coroposition. 

The  Spaoiardt  have  a  pastiwiate  love  for  dancing  ^nd  instm- 
menti;  they  still  preibi  the  gnitar,  and  amongst  the  airs  for  tbe 
danoB  ihefimimgo  is  Ibe  fhvoarite.  It  is  an  nir  in  triple  time,  and 
in  h  minor  key,  which,  as  h  were,  keeps  replying  to  itself,  and  bar* 
ing  no  marked  finale,  may  iwconclndod  in  any  part.  Saccbmi 
hat  employed  it  very  happily  in  the  opera  of  CAfaiene.  D.  Ykiaete, 
in  hia  Spanish  poem  on  mosic  has  called  this  air  "  the  melodious 
fandango  which  sheds  joy  over  the  bosoms  of  natives  and  torcigoer!, 
and  those  of  sages  and  severe  old  age." 

One  ofthe  sources  of  good  mnsioal  taste  which  reigna  generally 
thiwi^Hnit  Spahi,  as  well  a*  Italy  and  Gennany,  is  the  execnent 
■aria  bwud  conrtaatly  in  the  cbiiTeheB.  A  perton,  very  treii  ia* 


formsd,  and  carioiu  in  (bese  resnrclics,  has  cnlculatetl,  (hat  merely 
in  tfao  Gkthedrab  and  collegiate  chapch  ofSpain,  &n  annual  expenn 
at  400^000  doovts  ma,  before  tbe  rcvolation,  incurred  for  ucred 
dnrie,  wUhost  tedconing  tbe  fees  trf' every  professor  on  pariicnhr 
fttsl^  whlcb  in  Hailrid  only  are  «ud  to  hare  amouated  to  80,000 

We  mnit  now  relnm  (o  the  point  wheiKO  we  alnited,  the  Spanish  . 

Melodiei. 

Those  lelecled  are  Himplc — graceful — strong'.  They  abound  in 
notes  of  feeling.  It  ia  in  everjr  body's  power  to  sing  tliem  who  can 
sing  at  all.  There  it  pleasing  melody  for  those  who  cannot  pro- 
duce virid  effect — there  is  abundance  of  cnpabilitj  for  (hose  who 
am. 

The  poetry  ba*  not  the  intensity,  tlie  vftricty  of  imagery,  nor  (he 
command  of  language  with  wbioh  Mb.  Moose's  cuncenlraled  feel- 
ing, [iractiscd  art,  and  classical  resource,  enable  liiiu  to  enrich  his 
Terse.  But  Mb.  Plahoub's  lines  ate  always  smart,  and  often  sweet 
and  itrang.  The  Tcran  wbtcb  ft^w  will  affind  k  faToarable  opi- 
nisn  wt  bb  talents. 

When  tbe  wenry  sun  decUneffa, 

And  upon  the  silent  sea 
£f 'nilif's  star  ao  iweetty  shineth, 

Tiien,  my  love,  I  think  on  Ihee ; 
Think  that  thus  when  set  in  tndncsa 

Youth's  bright  day  dreams  seem'd  lobe^ 
Thou,  my  star  of  hope  and  gladness, 
Rose  and  fondly  smil'd  on  me. 

And  as  the  billow  beeretb 

In  Its  bosom  deep  and  clear, 
Tbe  form  that  bright  itar  weweth. 

Even  M,  Bin*  only  dear, 
O'av  my  heart  thine  image  ivlgneth, 

Aaa  within  ta  follbfU  tkrine, 
EViT  look  of  lore  ranainetb, 

Wbkh  tbMomrat  c>fet  btan  on  mine. 

TUilitllenrvtiidNo.  11,**  o'er  MmmdOakt"(mmit 
bytheiray,(]toaUtaambeeBplM]Wl  brt  in  tha  caHsction)  wmdi 


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464  SPlNlSn  MELODIES. 

and  music,  will  scarcclj  be  tLought  inferior  in  tSsfA  to  some  of  (lie 
beat  of  Moobb's,  wbaicver  may  be  said  of  their  origiiudiljr.  We 
have  now  seen  too  much  t£  campocition  lo  expect  an;  Ibiog  beyond 
combinatiooi  that  produce  delightful  emotioni,  and  that  both  lhae 
songt  villaSect  the  Kniitive  heater  nilh  very  deligfatful  leDtalioo^ 
we  will  ventnre  to  predict.  Ttie  last  ii  reaUjr  cxquiiite  lor  it*  am- 
plicitj  and  expieaaiveneai,  and  the  first  is  scarcely  a  d^ree  below 
its  successor. 

We  dismiss  this  liltic  voliimc  iiilh  vt-ry  (liffiTCiit  feelings  to  those 
with  which  wc  took  it  up;  fur  iylii;]ii;v(;r  \\c  ice.  a  tillc  Iliat  looks  like 
competitioD  with  Moons,  wc  anticiiinle  only  disappaiatmcuL 
Lest  the  reader  shonld  unhappi^  BDlertain  similar  prejudice*)  we 
thus  confess  our-fkult  for  his  instruction,  and  we  assure  him  he  may 
safely  venture  upon  "  the  Spanish  Helodies." 


The  MutUal  Gamea  of  Pope  Joan,  Ciisshio  and  Commerce,-  by  E,  E. 
Thorma.    London.    Cliappdl  and  Co. 

In  a  former  number  we  noticed  an  invention  for  tcjtching  some  of 
the  elements  of  musical  science,  in  spprt,  and  tlicsc  cards  are  upon 
a  plan  similar  in  principle.  To  lliosc  who  require  that  even  mo- 
ments of  relaxation  should  be  turned  -o  valuable  purposes,  siicli  p.'c- 
pedieols  have  their  ulilily ;  among  such  these  cards  arc  (□  be  enu- 
merated. The  one  game  teaches  the  rudiments  of  notation  and  time; 
the  other  the  structure  of  the  common  chords  in  every  Icey,  with 
their  inversions,  signatures,  &c.  They  thus  confer  the  amusement 
to  be  drawn  from  games  at  cards,  and  at  the  some  time  cannot  &il  to 
impren  what  tbey  profess  to  teach. 

Of  the  usefulness  of  such  means  of  tuiUoa  they  jlone  can  be  com- 
p^nt  judges,  who  areacquaiDted  with  the  babfls  and  dispositions  ef 
the  child  they  purpose  to  instruct.  Perhaps  the  greatest  be«£t 
will  be  found  in  gently  alluring  minds  liltic  accustomed  to  study. 
In  this  or  in  the  employment  of  minutes,  which  but  for  such  a  direo* 
tiou  of  (he  attention  to  a  fovourite  object,  would  be  lost  in  a  more 
fiivadaas  punuiti  perhaps  will  be  found  tbeir  cbiefert  good,  aad-this 
ia  bU  •  judioiau  parent  or  tutor  will  seek  fron  incb  aids. 


DlgiMzed  by  Googlt 


48S 


Horn  blai  is  Ihe  frUndahipj  a  duel,  connoted  tty  Vertue.  liOndoo 
(for  tlieAulliDT)  by  Goultling  D'Almalnd  and  Co. 

O,  B%  it  Itne't  eekttiai  dream,  a  duel,  by  M.  Vertue.  Laadoi). 
'  OouMio^  D'Absaine  and  Co. 

If  Ibou  cmat  Ute  on  btmAle  fare,  a  pailoral  daet,  by  M.  Vertue. 
London.    Gouldiiig  D'Alniaine  and  Co. 

One  of  the  grealeat  difficullii-s  tn  com  jHiii lion  is  found  to  be,  to 
coinbine  simplicity  with  any  (Iiing  nbuve  mere  preltiness,  and  lliig 
ive  think  Mtt.  Vbetub  has  cltarly  accomplished,  espcciallj  in  the 
two  last  of  these  three  pleasing  duels.  They  are  melodious  and 
easy,  bath  of  constrnciion  and  execution — simple  as  we  have  said, 
yet  not  witJiout  variety.  The  Inst  iiidced  is  extremely  sweet,  and 
will  (crt  where  things  of  more  pretension  miss  tbcir  aim.  We  may 
remark  .1  slight  inaKerition  to  accent  in  the  second — "  So  like  the 
■tar  of  day,"  and  "  Which  shines  to  day,"  &c.  Both  passa^ 
wonld  be  iniprored  by  shortening  the  notea  allotted  to  the  irords 
printed  in  italics,  and  giving  a  portion  of  Ihe  tinu  to  tbe  nota  next 
in  incceHion. 


mile  Houn  ofBBsi  areJUetb^.  The  Words,  Symphomes,  ondAe- 
compammenU,  ampoud  by  O.  F.  Graham,  Esq.  77ie  Mdody 
foreign.   London.   Chappell  and  Co. 

O  for  Ihe  Days  when  ouryomg  GlaAtets.  The  Words  and  Music 
ty  G.      Graham,  Esq.   London.    Chappell  and  Go. 

These  little  songs,  as  the  offspring  of  a  pure  and  classical  t.-isic, 
deserve  a  separate  niche.  They  arc  very  singular  and  expressive, 
.though  simple  and  unpretending.  The  air  of  Hie  firet  nearly  rc- 
■embles  that  beautiful  piece  of  melody  which  Paek  has  invenUd 
or  adapted  into  bis  Apute,  as  the  lavorite  stnin  of  tbe  distncled 
father,-by.vhtotifaeisat  but  ncdled  sndrestoied— "  CbmeiiMA- 


4S6 


CRAHAH'I  BILLAM. 


bia  al  vento  but  the  reKmUance  holdB  no  faTtber  than  the  fint 
pliraae  of  tbe  musicBl  tenlence,  irblch  is  indeed  the  verj  nme. 

The  eeWMd  !■  in  {  time— Bondtbat  nncniBiDiin  ■■  tocbI  mBtic; 
and  tbe  Bttuclare  of  tbe  air  is  also  lin^lar,  from  tbe  freqaent  drvctnt 
of  a.sevcDlfa,  and  the  pecutiarily  of  its  acccolnatioh.  WeshonM 
conjecture  (hat  (he  were  writlcn  lo(he  mclotlj,  not  the  melodj 
to  the  noTds.  But  however  this  mnj  be,  the  result  is  original  and 
pleasing,  though  such  passages  ai  we  have  poin(nl  out,  freqnenll/ 
eniplojed,  can  hardlj  be  said  to  be  s(ric(Ij  vocal. 

It  is  carioiu  (hat  amateurs  should  so  far  exceed  the  profession  as  ' 
Ibej  have  lateljf  done  in  the  production  of  balUds,  and  itmaj  per- 
haps afford  an  enquiry  worth  makini^,  wliclhct  (his  superioritj  be 
not  derived  from  the  force  of  genera!  irildli'ctual  acquiremeols  op^ 
rating  nhere  particular  science  is  in  a  good  degree  anenaitial  ?  For 
if  this  be  the  cnuac,  it  will  add  anothec  reason  to  tha  muy  lUmdj. 
advanced,  whj'  (he  cultivatioa  of  general  kmnrledgeabcHrtdba  nan 
awneslli)'  pursued  by  muiicianB, 


The  Beautia  of  Mosarl,  Handel,  Plcyrl,  Haydn,  Beethoven,  and 
other  cekbraied  Composers,  adapted  to  the  TVords  of  popular  Psalms 
aid  Hymns,  for  one  or  txco  Voice-:;  zciih  an  /Iceompanimriit  and 
appropriate  Symphonies  {or  the  Piano  Forte,  Organ,  or  Harp ,-  b]/ 
an  eminent  Professor.    London.  Leigh. 

We  were  lately  compelled  to  anlmadveit  on  a  pobllGalion  whtdi 
to  us  appeared  remarkable  for  vu^aritj,  bad  taste,  and  an  irreremt 
application  of  popular  musical  themes  to  aacred  lubjecls. 

At  that  time  we  were  not  aware  how  soon  we  should  be  obliged 
to  resume  tbe  same  irksome  and  disgusting  ta&k.  But  if  we  were 
to  suffer  the  collection  named  at  the  bead  of  this  article  to  pass 
without  notice  and  reprobation^  we  should  little  deserre  the  confi- 
dence of  our  readers,  in  those  thhtgs  whicb  concern  den  nrusicil 
pomtHB. 

Havbij*,  we  conceiTe,  In  the  arCielv  jnit  xlladed  to,  nBeiaiifly ' 


Digilizea  D/Got);;lc 


mCiHODY. 


487 


eaUred  into  the  subject  of  (be  association  between  moiic  and  poctrj-, 
weshall  not  resume  the  discussion  in  this  placet  indeed  tbe  viide 
question  may  be  reduced  to  a  matter  of  plain  fact,  nliich  it  is  in  the 
power  of  any  one  to  answer.  Surelj  tbe  most  uniostructed  penon 
would  laugli  in  our  Suxs  were  ve  to  aik  bim,  serionil;,  wbetber 
nMoUiDtheWad,"  "TelMli,"  or  "TbeOenlimongtlnTailoi^" 
gave  kim  Hm  Uea  of  obarchnnnic  ? 

And,  if  \n  awend  a  little  higher  in  the  Intelleotual  scale,  can  tk 
BSppou  that  they  nho  are  accnstomed  to  associate  cntain  aits  with 
poetry  of  an  aiaMary,  or  a  Bacchanalian  character,  can  all  at  once 
dtBSohe  (he  aaaociation,  and  fancy  Die  same  airs  appropriately  ap- 
plied, when  they  are  used  to  celebrate  the  praiseh  of  our  Almighty 
Creator,  or  to  set  forth  the  wonders  of  his  mercy,  displ.iycd  in  all 
the  mysteries  and  doctrines  of  our  holy  religion  !  For  ourBclves, 
vrithont  presuming  to  lay  claim  to  a  greater  share  ofaanctily  than 
onr  neighbours,  we  confess  that  we  are  shocked  at  (he  thought,  and 
we  consider  it  a  duty,  on  an  occasion  like  the  present,  to  step  for- 
ward and  use  oar  best  endearonn  to  pat  down  afnoIiBnce  which, 
cUietwiw,  iHn  BUUi  beCQOM  IntoIeraUe. 

Were  we  sot  Inflnonced  by  awn  aenma  mottves,  we  ihould  con* 
rider  It  on  dn^jr,  u  mndciens,  to  enter  oar  protest  against  inch  a 
eoUeotioB  as  wa  hno  beie  made  by  onr  "  eminent  prafesan-."  If, 
for  the  supply  of  our  churi^  lerrice,  or  for  the  comfort  and  edifica- 
lidh  of  thoM  who  choose  to  ptactice  sacred  harmony  in  tbe  retirement 
and  bosom  of  their  families,  it  be  indeed  necessary  to  go  to  foreign 
opera  writers,  or  to  take  op  with  the  refuse  of  their  street  music,  or  if 
it  be  necessary  that  nc  should  hare  sacred  words  adapted  to  old 
hacknied  Scotch  or  Irish  tunes,  which  we  cannot  hear  withoat  having 
our  minds  filled  with  subjects  of  a  light  or  frivolous  character — to 
say  the  least  of  some  among  them — if  these  things  really  be  so,  then, 
we  must  again  repeat  it,  are  our  living  English  composers  fallen 
below  all  that  imagination  can  figure  to  itself,  and  we  must  never 
Dttei  a  syllable  which  has  the  most  remote  tendency  lo  represent  us 
as  a  people  posieMed  of  a  spark  of  talent  for  music. 

To  jostify  these  remarks,  some  extracts  from  the  work  before  as 
will  b«  aecetsary,  bat  we  cannot  afflict  our  readers  nor  ourselves 
with  tomiy, — In  page  I  we  find  an  air  by  Uozart,  which  wc  be- 
liere  i*  taken  ftom  "  Ibo  German  Eral(^"  a  collection  of  ballads 
which,  soma  years  ago,  was  published  in  tbb  conafry,  with  liansla- 

TOI»  III.  HO.  Xtl.  3  s 


488 


FSALHODV. 


liom  and  imitalions  of  the  original  poetry.   la  page  2  ne  ban 
■mtda  which  begin  as  foliows  :— 

"Great  Lord  of  Earth,  and  Seas,  and  Sfclei," 
armiiged  to  a*  tiippins  &iciIiaDi>  movement,    front  Mozabt'i 
Sonata.    Op.  19. 

Tlie  "eminent  professor,"  intending  to  be  very  impressire,  atp,4, 
has  arranged  woniswhicl]  liegin  "Hark!  I  lie  Bolemn  trumpet  Eouad- 
ing,"  to  IIatd.v's  song  of  tin;  "  Mgrniaid,"  "  Come  witii  me  aadm 
will  gcj."  Wi;  iiHisl  not  lorget  (o  observe,  that  (o  lliis  bynin  the 
"  professor"  has  aililcd  a  most  felicitous  iiitroiloction  for  (he  Iruni. 
pet,  and  candour  obliges  us  to  iny,  tliat  in  our  opinioa,  Uatdn 
never  wrote  an;  tbing  like  it  in  all  his  life. 

'X'lic  car  uhicb  our  "  professor"  bas  for  English  versiiicalion,  and  | 
his  talents  in  adapting  it  to  music,  may  be  seen  at  p.  iS,  19,  SO,  31, 
SS,  and  S3,  bj  any  one  who  can  bring  himself  to  take  the  uoubic  of  | 
examining  tliem.  ' 

"  Wedded  to  divine  songs,"  we  have  "  La  ci  darem  Ift  mano,"  tt  , 
p.  S6an{I  nt  p.  "1,  "iJi  (niili  palpiti."   Tbal  ive  may  not  grow  dsll 
by  these  tcU^ous  elTusions,  we  have  the  air  of  "  Away  with  melin- 
choly,"  at  p.  ^8,  and  "Fortciidetness  formed,"  at  p. 40. 

But  in  the  tosle  for  judicious  selection,  the  pious  mind,  and  (he  re- 
verential feeling  of  our  "  eminent  professor,"  appear  in  all  llicir  lut- 
tre,  at  p.  4i,  where  lie  fairly  gives  us  the  Tyrolcse  It'all^:  andliere 
we  must  take  our  leave  of  him.  A  sense  of  duty  bas  dragged  ui  lliui 
far  (hioDgh  this  voithless  publication,  bnt  jt  vill  di^ns  no  liuthr. 


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489 


Second  Part  of  Gementi't  Introduction  to  the  art  of  plaj/ing  on  the 
Piam  Forte,  being  an  Improvement  upon  his  work  formerli/  called 
an  Appendix,  containing  Preludes,  Scale  Esercises,  National 
Airs,  Variations,  tieo  master/^  Fugues  of  Sebastian  Bach,  TBith 
other  pleasing  and  inslrucihe  Pieces,  calculated  for  the  greatest  im- 
prmemait  of  the  StudaU,  The  whole  arranged  and  fiigered  by  the 
EdUoTf  Muxh  Ctementi,  Op,  43.  London.  Clemeuti,  iCoUBrd> 
DaTU,  and  CoUord. 

The  long  life  (rf  Ihc  learned  editor  of  this  work  (for  be  it  known 
to  those  Bcholats  who  arc  apt  to  look  down  ution  musicians,  that 
learned  he  cortainlj  is,  not  only  in  iiia  own  particular  science  but  in 
various  litetalure)  tfie  long  lifi;  of  the  kitrned  editor  lias  been  a  life 
of  unremilliiig  slmiy,  and  liis  knowledge  of  Ihc  practical  perfection 
of  his  own  imilrutuciit,  lias  never  been  exceeded,  perhaps  never 
equalled.  It  promises  the  most  essential  advantages  to  art,  that  sucli 
a  man  should  employ  the  latest  years  of  his  existence  in  digesting 
the  fruits  of  liis  experience  into  a  complete  code  of  elementary  and 
general  instructioo — levising,  alteriiij^  and  perfecting  nhat  be  has 
pi^luhed  at  an  eariier  period,  and  ■npplj'ing  whatever  his  most 
nuitafe  observation  can  fnrnish  towards  the  Gumpleti,)n  of  his  grand 
design.  In  the  rolnmes  thai  mnko  np  the  work  before  us,  and  in  his 
most  emdite  performance,  the  Giadas  ad  Parnassum,  we  see  the  last 
hand  put  to  his  plan,  and  the  result  cannot  fiul  to  be  excellent. 
We  shall  first  enumerate  the  several  part*  of  tbe  boiA  before  ub,  and 
conclude  vitb  such  remarks  ai  may  aiue  from  tbe  examination. 

PART  FIRST. 

Noi.  1  and  5  are  short  prdudet,  in  the  key  of  C  m^or. 
Page  i.  A  Scale  Ezeidse  in  C  nuyor. ' 

5.  The  Dead  Uorctr  in  Saul. 

6.  I^De'UlaketheWart  adapted  by  ScTaefer;andRosIin 

CuOe,  with  Variationi,  by  Dnuek,  in  wbiob  Uie  Lan 
of  Peaties'  Mill  is  introduced. 
10.  Daily PracficcnrCircularScalcExerciiBrtlirougli  every 
key  major  and  minor.— Tiiis  has  been  wiongbt  with 
■    equal  care  and  knowledge,  and  iiconsideiedby  tbe  first 
3i  a 


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490 


CLEMENTl't  APPBNDIS. 


masters  as  one  of  tbe  most  excellent  exercises  erei  wiit- 
ten ;  both  lianils  are  equally  employed,  alternatelj  or 
together,  and  the  whole  is  admirably  calonlatcd  la 
produce  that  degree  of  flrmnesi  and  pcnver  M  nc- 
ceataiy  to  great  perrormers  on  Hio  piano  forte;  it  run 
through  14  pagei. 
Page  Si.  An  Exercise  b;  Corellt 

9fi.  A  Short  Prelado  in  A  mrnr;  a  GaroUtt  by  CmW,  in 
ths  unw  hey. 

26.  A  Scale  Exercise  in  A  minor. 

38.  Two  Preludes  in  F  mcijar. 

29.  Giga  by  Curelli. 

SO.  Scale  Exercise  in  F  nujor. 

31.  Prelude  in  D  minor. 

33.  Scale  Kxercbe  in  the  same  key. 

33.  Saraband  by  Corelli. 

34>  Allemanda  by  Curelli,  nbidi  is  an  excellent  exercise  lor  | 

the  left  band. 
36,  X,  and  37.  Tlircc  Preludes  in  G  m^jor. 
9T.  Sawyou  my  Father,  arranged  by  £brii(iuBMh> 
40.  Scak  £zeici«e  in  Q  major. 

48.  CokmhaArieUftallBiM^iij'withVailBtioiisbjraMMDfi. 
U.  Lessen  by  Haodd,  in  G,  fiaUoffed  hj  the  Hknet  a  | 

Samson. 

46.  Fogata  by  Handel,  which  it  treated  in  a  my  bcuiifU 

Andantino  by  Duisek. 

50.  Scale  Exercise  in  £  minor. 

fiS.  Prelude  in  the  same  key. 

Allegro  by  an  unknown  author)  in  a  good  ■Ijrle. 

55.  Presto,  ditto. 

56.  Prelude  Bb  major,  followed  E>]r  two  Variafiou  on  Uador, 

by  Clementi. 
58,  Lochi^er,  adapted  by  ditto. 
5&.  GaToWiby  an  unknown  antlior,  in  a  pleasing  ttyle. 
60.  Scale  Exercise  in  B|,  major,  which  ends  part  tbe  lit 

PART  IBCOMD. 

69.  Pielnde  In  G  minor. 
Lesson  bj  Scodalti. 


CLEMENTl'S  APPENDIX. 


401 


e  64.  Scale  Esercise  in  G  minor. 
66.  Prelude  in  D  major, 
Gavotta  by  CoreUl. 

Allegro  by  ditto,  vtiich  forms  an  excelleot  eserciie  fat 
the  light  hud> 
68.  Scale  Exercise  in  D  majw,  in  perpetoal  canon. 
TO.  Pidoda  in  B  minor. 

Gigii  Ooidli. 
71.  ExeidiebjGiagaofSleDSjWhowasitmasterofthefint 
claae,  and  flonrishcd  in  the  time  of  Domenioo  Soadalti. 
78.  Scale  Exorcise  In  B  minor. 
74.  Prelude  in  Ed  major. 

Air  with  Variations  by  Clement!. 
78.  Polonaise  by  J.  Field,  of  Pelersbnrgh,  pupil  of  Mr. 
Clementi. 

80.  Variations  on  Kxaudet's Minuet  by  J.G.  Eckard. — This 
celebrated  minuet  is  irell  known  in  this  country  by  tbe 
name  of  Marahat  Saxe's  Minuet,  and  msde  the  fortnoe  ^ 
of  ito  author  at  Paris. 

85.  Setio  fixercise  in  E|,  major. 

84.  Ditto  in  C  minor,  in  perpetnal  canon ;  both  dtictlo  and 
iRTo>ranclo. 

86.  Prelude  in  C  minor. 
Ditto  in  A  major. 

87.  By  an  unknown  author. 

88.  Scale  Exercise  in  A  major. 
90.  Prelude  in  Fjt  minor. 

Scale  Exercise  in  same  kay. 
99.  Dilllo  inAb  major. 
9*.  Prelude  in  ditto. 

Ditto  in  F  minor,  treated  in  the  manner  of  canon,  in  con- 
trary  motion. 

Vivace  by  J.  C.  Eckard,  treated  in  a  very  able  manner> 

100.  A  Prelude  in  Enutjor,  incmnan. 
Polonaise  aad  iUinmrt  by  Ssbastian  Baeh. 

101.  GaTottaby  CoidU. 

IM.  SoalQExnciieinJSiBajctr. 
lot.  Ptdnde  in  minn. 
Hlraet  bj  Hajdo. 


493  CLEMENTl'S  Al'PENDIX. 


Page  105. 

Aria  di  UbIIo — author  unknown  ;  written  vith  taite  ud 

intdligence 

J06. 

Scale  Gxefdtes  In  Cf  minor. 

108. 

DiUo     -  - 

-   Db  major,  in  perpetual  canon. 

110. 

Ditto     -  - 

-  Bb  minor,  in  canto  (tmo,  wilb  doable 

113. 

Ditto     •  - 

coBnterpoinL 
-  B  miyDr  in  perpetual  canon. 

114. 

Ditto     -  ' 

-        minor,  in  canon  infinito  per  moto 

contrario. 

IIS. 

Ditto     •  - 

-   FK  major,  in  canon  infinito  per  moto 

contrario  e  per  giuati  interrtdli. 

lis. 

Dido     .  ■ 

-    Eb  miliar. 

120. 

Fllguu  hy  SfU 

istian  Rucli,  frDtn  an  original  HS.  of  the 

aullior  in  tlie 

hands  of  Mr.  Clcmenli. . 

188. 

Ditto. 

It  should  be  Ibe  endeaTonr  of  students  in  art,  to  obtain  as  t^ej  go 
along,  not  odIj  a  lechDical  end  mechanical  bnt  a  philoaophioBl  view 
of  their  sllaiaoients.  It  is  by  such  a  carATOiily  that  principles 
irillbe  understood  and  the  yalne  oftfae  eeparato.  parts  ascertained 
and  fixed  in  the  memory.  And  if  such  were  conilantly  tho  aim  of 
the  scholar,  many  of  the  most  ncccssnrv  elements  which  are  disre- 
garded or  ror^ltcii,  because  they  arc  iiDpioperly  estimated)  would 
assume  their  true  dignity  and  worth,  and  the  general  progression 
would  be  much  more  securely  Hsccrlaincd,  We  would  apply  this 
remark  to  a  systematic  method  of  lingering.  Half,  nay  Ihree-fourthii 
ofthosc  who  prosecute  Uic  piano  forte,  arc  spoiled  by  an  inadequate 
share  of  attention  being  addressed  and  directed  to  a  really  scientific 
digest  of  rules  to  tliis  intent.  Mr.  Clehehti  has  however  shewn 
that  he  Icnows  how  to  appicclalc  this  indispensable  requisite  to  fine 
performance,  and  in  the  work  before  ns  has  applied  himself  to  its 
ilUutTatlon  by  the  nicest  gradations.  He  pre-snpposei  only  (in  the 
appendix)  that  the  pupil  has  studied  the  scales  in  (kdi  nroplest 
tonoi  From  this .  point  he  begins,  and  he  condnota  the  scholar, 
step  by  step,  rendering  however  a  series,  of  lulea  and  a  method  ex- 
ceuively  tediooa  and  dry  in  themtelves,  amniing  and  even  inteRst- 
ing  by  the  manna-  of  treating  fbem.  The  difficulties  ate  increased 
almost  impercepUbly,  till  towards  the  end  Ibey  arc  wnmght  with  a 
profound  acquaintance  with  double  oonnterpoint,  and  be  at  length 
Bcctistoms  the  hand  and  the'eai  and  the  jndgmenl  to  the  execotioo 


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y 

CLEMENTl's  APPENDIX.  493 

aail  Ibc  coDtemplalioii  of  canoa,  fugue,  and  tijo  highest  tpecin  of 
compoution,  and  eoafinna  Uibk  separate  powers  by  the  fiiwat  ex-  - 
amplet,  vhUe  the  value  and'  the  bean^  of  indhod  is  apparent 
thcoi^oiit ;  and  notliii^  can  manifest  the  extraoidtnaijr  senae  of  the 
importance  with  which  thia  gnat  mastcE  i^ards  the  oi;gects  of  hia 
laEwun,  than  the  euDcrtnen  and  care  he  has  employed  in  kavtiig  no 
part  of  the  fingering  to  chance.  He  has  indeed  often  upon  a  re- 
peated passage  adjoined  the  finger  marks,  that  no  possibitit/  of 
change  or  error  shoald  creep  in. 

The  selections  are  such  as  might  be  expected  from  the  erudition  of 
the  Editor.  They  are  in  multifarious  styles,  and  present  Ibe  best 
specimens  in  each.  There  are  two  or  three  of  Mn.  Ci.ementi's 
own  compositions  really  exquisite.  The  air  witli  variations  (p.  74) 
Is  eminently  licauliful;  it  is  so  chontant  and  so  expressive.  We 
refer  all  wrifen  of  variations  to  this  model.  Ma.FtEi.D'i  polonaise 
is  also  delightful. 

The  scab  ezeicisea  and  pielodea  ate  invaloablo  as  conducting  lo 
execution,  but  the  work  ig  rendered  not  lets  useful  by  the  pains 
talceu  to  form  the  taste  to  fine  ej^resilon,  not  alone  by  the  nsoal 
^mbols,  which  are  most  carefnlly  and  unsparingly  marked,  but  by 
directing  the  mind  to  a  choice  of  modeb.  Pine  expression  is  a  com- 
bbation  of  natural  feeling,  and  so  high  a  degree  of  cultivation  as 
implies  a  perfect  command  of  the  instrument,  of  the  gradations  of 
touch  and  rapidity,  of  force,  of  delicacy,  of  contrast,  and  of  trans!- 
tion — all  these  are  the  results  of  practice,  and  of  a  eompariton  of  the 
objtds  of  tiule.  We  know  of  no  dementar;  work  to  excellently 
calculated  to  combine  all  these  requisites  as  the  appendix. 

To  Mb.  Clembmti  the  world  is  highly  indebted,  for  nothing  but 
a  love  of  his  art  and  a  desire  lo  do  his  ntmost  to  fix  its  principles,  so 
far  as  in  him  lies,  would  have  induced  him  to  undertake  a  work 
whioh  tontoh  amindas  hiinnuthaTebeenataA  of  nnintenniitad 


PaUnodin  a  Nici;  in  ihhieen  weal  Duels,  ailk  an  Accontpaniment  foT 
the  Piano  Forte,  composed  by  3.  F,  DanriE/t^;  with  an  EngSiA 
metrical  TraasUUion,  wriUen  expressly  Jbr  the  Work,  bg  Mrs.  J. 
Cabbold.  London. — Bjr  the  Rojal  Harmonic  Iiulihition. 

The  exqnbile  poem  of  Vxtastasio,  ftom  which  Ms.  DAt> 
1IXLB7  has  with  clauical  tatte  sdeoted  the  tnbjecta  of  hf>  compogf' 
tions,  has  been  chosen  bo  repeatedly  hy  the  most  em&ient  mmicians, 
and  parlicuhrly  by  Ciuarosa,  for  tbc  same  purpose,  that  the 
attempt  ivjE  a  bold  one,  especially  for  Rn  Englishman.  For  by  pTe- 
ferriiig'llic  Ilaltaii  In  liis  own  tongue,  llie  composer  must  be  suppoied 
to  be  iiifliiciici;il,  not  alone  by  tlie  suporiorily  oflbe  former  over  the 
latter  as  a  vocal  language,  but  to  imply  that  the  slyle  of  writing  be 
adopts  is  adapted  to  tlif  genius  of  tlic  poetry.  For  this  reason  we 
tbink  Mr.  Dannbley  has  crtcd,  either  in  affixing  the  original  or 
the  translation  ;  for  in  tbc  present  state  of  the  art,  the  characteristics 
of  Italian  and  English  style  and  manner  have  not  yet  approached 
each  other  sufficiently  near,  to  allov  of  eqnal  justice  being  dons  to 
both  in  the  same  composition.  Hatdr'b  canzonets,  fi)r  initance, 
irfcich  have  both  English  and  Italian  words,  and  wbioh  ate  by  for  the 
most  elegant  and  expresaiTe  ballads  that  weie  ever  vrittan,  are  bdI 
Italian  in  respect  to  the  music ;  nor  conld  we  ever  perraode  ourselTa 
to  listen  for  a  moment  to  the  Italian  adaptation ;  so  inDnttcly  beN 
tcr  does  the  exquLiiTe  and  finished  poetry  of  Mft>.  Joflir  HomsK 
accord  with  the  notation.  In  tbc  Palinndia  too  theie  i>  a  sfmplidly 
nbicli  is  iaimitable,  and  to  prove  an  liyputbesis  vre  ahall  snhmit  the 
lines ofMetAsTASio  and  Mrs.  Cdbbold's  translation, fllthey<tAild 
in  the  fintpage  of  Mr.  Danhelet-'s  duet. 

Placa  gli  sdegni  tuoi, 
Ferdona  amata  Nice, 
Jj'eiToi  d'vn  infelica 
£  degao  di  piet&. 
E  T«r  di  lacci  mid, 
Vantai  che  I'alma  e  tekiHa, 
Ha  fii  1*  estrema  volta 
Ch'ioTBntiUberljt. 


Digitized  by  ( 


DANNELnv's  DUETS. 


m 


Trtma/alioit, 
Fairest!  thj  »;orii  appealing^ 
Let  hope  a  smUe  diicover  i 
A  haplcsB,  erring  lorer  ' 
May  sare  for  pi(j  plead. 
Methonght  from  ipslli  loo  pleaiing 
Ky  loul  vas  disencbanted  ; 
Alas!  it  idly  vBunlcd 
When  boasting  lo  be  freed. 
Mas.  CoBBOLu  has  given  somclliing  lilic  tlie  scnac,  but  llie  simpli- 
city,  the  parity,  the  intensity,  tbe  charm  of  Metabtabio,  exists  not 
in  tbe  translation.   Tfic  original  anil  the  paraphrase  Iia?e  two  dia- 
ti  act  characters.    In  point  of  fact  Ma.  Dahnelet  should  have  left 
Mbtastasio  to  italiani,  and  should  have  been  coDlent  with  the 
povan  of  bis  fair  coadjutor.   And  vo  think  we  sball  do  the  com- 
poierbeUei  service,  if  we  forget  the  Italian  altogether. 

Wilh  this  atlowaace,  these  duets  exhibit  traits  of  talent  Tbe 
fint  three  are  wry  agrea^le,  natoial  in  thaEr  mdodyi  aimple  in 
conatroctlon  and  expression ;  and  these  attribntai  belong  to  manj  of  . 
the  set.  Tbe  sixth  we  esteem  tbe  most; — this  too  is  more  Ilalion 
than  the  others.  The  wide  Intervals  at  the  end  of  the  fourth  are 
scarcely  vocal,  and  the  tenth  (in  E  fiat  minor)  u  bo  chromatic  that 
it  can  rarely  bo  decently  esecuted.  Neither  do  wc  lilse  the  transition 
to  the  key  of  B  with  sharps,  for  the  same  reason.  The  example  of 
the  Sneit  composers  has  shena  that  they  reject  the  use  of  exlreroc 
keys.  The  very  few  exceptions  do  but  establish  the  rule ;  and  a 
writer  of  less  aulhorily,  rvcn  if  he  imagine?  any  suQicient  cause  in 
ideal  rficcls,  will  to  ^  cerlaiiity  ijnd  liimself  foiled  (ivlicn  lie  Iicars 
hia  Matk)  hy  imjicrri.>ct  execution.  If  nil  keys  are  tempered  alike  by 
a  linger,  his  theory  is  visionary;  if  the  singer,  on  the  contrary, 
endeavoiin  to  accommodate  his  scale  lo  the  temperament  of  a  fixed 
InBtmmeDt,  the  ear  vill  not  beat  tbe  results  lu  the  extreme  keys.  He 
is  therefoie  am  to  be  wrong  when  be  tran^reases  dioae  certain 
Hmits,  which  have  bean  veil  marked  by  classical  authorities. 

Mk.  Damnblbt  has  abo  made  bis  nppei  part  too  high,  in  some 
Instanees^fiH  tlie  geoanlity  of  voices,  and  histeoond  ti  often  too  dis- 
tant firora  tbe  first.  But  there  la  in  tbe  dneta,  taken  as  a  whoie, 
mfllcieBt  to  entitle  Ifaem  to  notice,  and  in  several  of  Ihem  very  pleas* 
ing  Bpecimens  of  melodj,  simplicity,  and  expisrion.   Had  ndthei 

TOL.  lit.  NO.  ZII.  S  T 


496  iMNNCLi.t  s  nuF.rs, 

poet  DOT  mnsiciaa  been  fettered  by  the  syllables  of  the  FaliiiodiBt 
there  can  be  no  doubt  but  (be  oacnould  bsve  snoceeded  betlerins 
more  tite  transhtion,  and  tbe  other  aka  in  the  adhptatioD  of  one 
dncription  of  verse  nod  one  clan  of  loittmcnti. 


Sei  Canoni  a  Ire  roci  con  coda  ed  accompagnaitKnIo  di  piano  forte 
obligt^O,  composlo  Da  G.  G.  Ferrari,  di  Rovercdo.  The  fVvrds  by 
anjimatair-    Loiiilon.    Fot  the  Autliur. 

S:ayll^  Catches,  Jor  Tiso,  T/irce,  and  Four  Voices,  composed 
by  the  mo$t  celebrated  Padrt  Maeslro  Martim,  (of  Bolt^m}fir  th» 
fint  time  ptAHshed  trilk  an  Aeemtpmimatt  for  the  Pkm  Feria, 
expra^H  contpoted  bj/  Pio  Cimektllim.  London.  (For  P.  Gan- 
chettinL)   Biroball  and  Go. 

7Vn  Qmontjbr  Three  Foieei,  am^^oKd  by  L.  (^endiim,  Loodoo. 
Clemcnii  and  Co. 

The  canon  is  nnjongst  Ibe  cailicst  conttiTUices  of  musical  inge- 
nuity. At  first  it  was  but  too  much  conGned  to  mere  ingenuity. 
Sin  John  Hawkins  fises  tha  date  of  its  invcntiun  between  the 
pnblicalioii  iif  llic  Treatise  of  Franchinus,  in  1518,  and  the  Microlo- 
f;i\s  of  Ortiilhoparcus,  in  1535,  whose  deCnition  of  a  canon  was  as 
follows:  "A  canon  is  an  imaginary  rule,  drawing  that  part  of  the 
song  which  is  tuA  Hi  down,  out  of  tbnt  wliich  is  set  down.  Orit  b 
a  ruhi  wbich  doth  wiflily  discover  the  secreU  of  a  song.  Now  W 
me  canons  either  to  sbev  art  or  to  try  others  cunning."  Moslit 
aicribei  the  fnTenlion  to  tbe  JlaiioDg  and  French.  "  Tbe  F^onohmoi 
and  Italians,"  he  tays^  ban  used  a  wain,  tiiat  though  there  mn 
four  or  fiTe  partes  in  one,  yet  might  it  be  percdved  and  anng  nt  the 
first,  and  themaonerthereaf  is  this.  Of  how  manie  partes  the  cnnoa 
a,  so  manie  cliefi»  do  they  set  at  tbe  beginning  of  the  vette  ;  still 
eansing  that  which  standcth  nearest  unto  the  muaiek  to  serue  for  the 
Leadbg  parte;  (he  next  tomrds  the  left  hand  for  the  next  foUowiig 
parte,  and  so  cbneeqmtUe  to  tbe  hut.  But  if  betweoa  ame  two 
oliefes  joa  finde  iM^  -these  faehmg  to  that  parte  wfiidt  Ae  dM 


CANUNS. 


ilanJing  ncxi  unto  Ihein  on  Ihe  leA  side,  BignilleUi."  Caraposiliatu 
of  this  kiad  Sib  Jobm  stales,  iDaDodierpait  ofbii  History  of  Uutic^ 
weTesonieliinei  exhibited  in  the  fonn  of  a  cros^  sometimes  in  that 
uf  a  circle;  there  are  nov  extant  ope  resembling  a  lioiiionfal  win 
dial,"  also  a  kej,  a  sound,  a  balance,  a  minor,  and  achess  board. 

But  later  irrilcrs  bave  attended  mote  to  melody,  and  ycry  light 
and  beautiful  compositions  arc  to  be  found  lliat  deviate  not  at  all  or 
verjt  little  from  the  strict  laws  of  canon.  What  (licse  laws  arc  it  may 
not  be  impertinent  here  briefly  to  recite.  For  altliougli  in  a  work  of 
this  nature  wc  Ehall  not  pretend  to  instruct  vith  the  rcgukrilj  of  a 
treatise,  nor  to  display  (lie  erudition  which  can  be  found  wliere  ordy 
it  must  besought,  in  Ihi;  lomi^s  or  theorists  ajid  clus^licnl(;umIIU3e^^,  wc 
may  yet,  by  reducing  (o  a  popular  and  tasy  form  tliosc  laiis  and 
terms  which  are  regarded  with  far  more  dread  than  really  belongs  to 
Ihcm,  render  a  service  to  amateurs  who  do  not  desire  a  very  deep 
acquaintance  with  such  matters,  and  to  students  in  their  incipient 
researches^  Wc  may,  perhs^,  do  niore.  We  may  allure  to  study 
those^Q^tave  been  terrified  from  the  pursuit,  by  the  mist  vilb 
wtiiol^  these  subjects  are  involved,  often  inlenlionally  and  scarceljc 
leas  oneiyanorantly. 


Acanonn  the  same  melody  perforracd  hy  two  or  more  parts  of  a  score 
at  tbe  same  lime,  (the  second  beginning  before  the  fir^t  is  concludjstl) 
subject  to  the  rules  of  hatinuny,  and  music  in  real  parts.  Canons 
are  from  two  to  five  parts  iu  one  mcludy,  or  four  1o  eight  in  (wo,  or 
sis  in  three,  and  eight  in  fuur.  Tlii^  principal  tnclody  is  calleil  (lie 
subject,  the  others  tlic  answers ;  Ihe^c  answers  may  bc^'in  on  dill'ci- 
cnt  intervals,  and  may  be  ciihei  with  or  without  modulaliun.  A 
pcrpeluaJ  canon  is  one  in  vfhicb  a  certain  number  of  bars  arc  ro- 
peated  as  often  as  the  performeta  chooso,  and  is  gcnnallj'  cvioludcd 
by  acoda,  ot  a  fevr  bare  also  in  canon. 

In  a  canon,  bj/  fRsemon*  the  subject  is  answered  by  the  melodjt  U 
an  inverted  shape,  the  intervals  rGmainuig  strict. 

In  a  canon  bj/  augmeitlatiott  the  ansmr  is  given  in  notes  double  tlip 
lengtb  of  the  subject,  beginning  at  tbe  same  time  or  aQer  it.  In 
doitUe  otfgmenbKion  the  notes  aredonble  the  length  of  Ihesecond  anr 
twer,  and  fonr  times  that  of  the  first. 

A  canon  duiunuiSm  'a  one  in  which  the  notes  of  tbe  answer  are 
Iialf  the  length  of  those  of  the  subject.  Dmible  £aamitiat  Hgnifies 
that  the  notes  arc  one  quarter  the  length  of  those  of  tba  lutyocl. 


3t  8 


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498 


CANONS. 


A tM^caaonit  that  innhicli  tlic  iatemlEare  esnclly  pTtterved 
in  the  eobject  and  aiuw«r<  Acanon  majr  bsve  one  or  moie  \>ntts  of 
fiee  accompBoiraent  not  in  canon. 

An  opmamonis-wnltKa  either  ]n  score  or  in  separate  pnges,  bat 
whenitiBWtittenononeline  vilh  marbs  directing  vberethosncet^- 
ing  parta  commeDce,  it  u  called  a  dote  amou.  it  tlic  parti  are  lo  be 
perromied  at  difierent  Intervals,  figures  denoting  the  distance,  are 
placed  ^>OTe  or  below  the  line  ;  thus  a  four  placed  above  Ihc  tine 
sigaifici  that  part  is  to  be  performed  a  foiirth  )iigli:;r;  ifbclow,  a 
fourth  loner. 

A  canon  originally  signified  a  kind  of  musical  puzzle  or  enigma. 
Id  a  canon  of  two  in  om,  Sec.  only  one  line  was  nritlen,and  theme- 
tbod  of  performing  it  was  left  lo  be  found  out  by  the  scholar.  This 
vras  called  solving  or  resolving  the  canon. 

A  cajion  which  is  ansn'ercd  in  every  tone  is  called  a  canon  per 
Umot,  or  circle  canon. 

A  eaton  polymorp/ms  is  one  in  which  Ihe  answers  may  be.  made 
at  diffiirent  intervals  and  in  diSirent  time,  and  which  may  be  talcn 
np  on  an;  note  of  the  snl^ject. 

KinoBBR,  in  Lis  Momigia,  mentions  a  canon  poljmorplins,  con- 
sisting only  of  seventeen  notes,  which  may  be  sung  two  thousand 
ways;  and  another,  called  Nodus  Saimonts,  of  only  four  notes;  he 
says  he  afterwards  found  that  the  same  canon  might  be  sung  by  five 
hundred  and  twelve  voices,  or,  which  is  just  the  same  thing,  distri- 
buted into  one  hunilrcd  and  twenty-eight  choin ;  and  atWwards 
proceeds  to  shew  how  it  may  be  sung  by  twelve  million  two  hundred 
thousand  voices,  nay,  by  an  infinite  number;  and  then  says,  i[i  Co- 
rollary 3,  that  this  passage  of  the  Apocalypse  is  made  clear : — viz. 
"And  I  heard  the  voice  of  harpers  harping  with  their  harps,  and 
Ihey  sung  as  it  were  a  new  song,  &c.  and  no  man  could  learn  that 
song  but  the  one  hundred  and  forty-four  thousand  which  were  re- 
deemed from  the  earth."  KinciiEit  asserts  that  lliia  pawige  in 
scripture  maybe  interpreted  literally,  and  thai  shows  that  (hecanoa 
above  described  may  be  so  dispoaed  as  to  be  sung  by  one  hundred 
and  £)ily-fi)nr  tboaiuid  voicM. 

HBTiiigtho:Si»ehope,  (prindpally  by  theaid  of  Dn.  Chotcb's 
admiialde  and  penpicnoiis  treatise  on  harmany}  softened  the  (er- 
rors of  hard  names  and  long  words,  we  may  proceed  lo  the  woAs 
at  (bs  head  of  oar  article. 


499 


Mb,  FeniiAni  is  unqucstlonabty  a  man  of  flne  taste,  and  Ihete' 
composilions  are  tlic  (ranscripis  of  an  elegant  bncy.  We  have 
rarely  tnct  nitli  Imlf  a  dozen  prodnction*  so  cqaal,  yet  m>  ligbl,  airy, 
imagLnative,  and  so  full  of  legitimate  expression.  Tlieir  structure  is 
not  indeed  in  striclcnnon,  except  they  be  taken  as  tno  in  one  upon  the 
unison,  with  a  third  part  as  a  free  boss.  They  end  also  irilli  a  coda, 
not  in  canon.  Indeed,  the  anthority  we  cite,  ^rould  probably  ob- 
ject to  tbeir  bearing  the  name  of  canon  at  all.  He  woold  call  them 
.AoioKb.*  And  the  dEttinction  he  takes  appesn  to  be  jort.  The 
Doctor  Gontlders  that  the  lecond  part  oc  ansvrei  of  a  canon  matt 
commence  before  the  first  part  of  the  subject  is  concluded.  If  it 
doMnot  so  commence,  it  becomes  a  Round.  But,  taking  tiiis  as  the 
nile,  it  will  frequently  be  found  very  hard  to  decide  upon  the  class 
to  which  modern  compositions  really  belong.  We  do  not  however 
consider  this  objection  as  at  all  impeaching  the  merit  of  Ma.  Fer- 
BAni's  work,  which  we  regard  as  particularly  adapted  for  the  per- 
formance of  amateurs,  and  we  should  give  it  a  place  among  the 
classical  amusements  of  lady  singers.  Where  three  equal  voices  are 
not  to  be  found,  Mb.  Fbrbabi  has  so  contrived  and  arranged  his 
canons,  that  they  may  be  sung  with  almost  equal  effect  by  sopranos 
Had  contraltos,  or  even  wilh  one  male  voice.  The  accompanimenii 
be  has  added  augment  tlic  airyncss  of  the  general  style.  They  are  abo 
recommended  by  their  being  written  within  a  compass  accessible  to 
every  singer  who  has  any  voice  at  all. 

The  learning  ot  Fadrs  Martini,  the  Italian  histoiiRa  of  music 
and  celebrated  contrapuntist,  is  so  well  known,  that  his  name' is  in 
itself  a  host.  Mn.  Cianobettini  has  given  his  canons,  which  have 
been  published  abroad  if  not  in  England  (for  we  do  not  recollect 
to  have  seen  an  English  edition),  a  modem  dress.  The  Venice 
edition  is  in  one  line.  Mr.  C.  has  resolved  thecanons,  and  pablished 
tbem  in  soon,  with  an  accmnpaniment  of  his  own.  This  Iransfeis 
tbem  from  the  table  to  the  piano  forte,  and  makes  tbem  more  acces* 

*  We  were  present  some  months  since  at  a  conTenation  between  four  eml- 
aent  professors,  ^1  of  them  composcn  of  vocal  part-songs,  and  a  question  arose 
eonccming  the  proper  desigoatioa  of  a  manuscript  just  about  to  be  published. 
Mo.  Babtlemak,  to  whom  it  bad  been  shewn,  had  denied  it  tbe  name  of 
Canosi,  nor  could  these  geodemen,  tboi^  smon^  the  most  learned  mo^ 
ciani  oT  tbe  time,  dedde  thepoinL  We  menUoii  Ois,  not  bidisr«qiect  to  tbdr 
judgment,  but  to  prom  the  luEScid^  iritb  wUdi  the  snltject  Is  samnmded  In 
Ihc  ndndsof  aUetncB. 


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fioe 


CANOXS. 


libl^utdpIeaiiD;.  Tbe  cauaos  are  upon  all  tiibjecto,  rrom  llic  crjriag 
of  the  cluld  for  papa  and  nuuna,  to  (hat  awful  tine-' 
"  Qiuutdo  ^iug<  I'oawnan 

"  Oi  partu  da  quota  vita 
and  th^  embrace  almost  etery  blessing  and  every  accident  of  ezist- 
CDce,  from  the  love  of  good  catiiig  to  the  love  of  a  mistress,  from 
camplainiogs  of  absence  to  the  vaal  of  a  supper.  Tlie  musical  aiyle 
is  that  inter  mediate  point  ^vhere  Iho  gravel  erudition  of  the  chutcb 
a^iil  more  auslcrc  majioer  of  the  ancient  madrigal  began  to  give  «af 
to  jiioikiii  liglitncss.  Wc  may  here  see  the  first  dawtiings  of  elegance, 
but  tlicrc  is  noiicof  tlie  voluptuous  melody  and  intense  musical  feel- 
ing of  the  Utlcr  days.  The  Padre  has  written  to  the  understanding 
rattier  than  to  the  senses. 

The  sixi;  canons  campiise  lea  duets  and  one  qnwrtett  for  bams ; 
the  mt  are  for  tbree  voicea.  The  Edtlot  has  perbraed  hi*  part 
oanfaUjaodjadiclaulriealiTaaiiig  (he  style  bjbfaaccKUBpaBlpent 
wheM  the  sentiOMot  or  tbc  humur  albnvs  inch  aid>  bat  ntfoi  di*- 
taitdoff  the  general  teaor  of  the  original  bjriapettiwDcea  of  oa;  tort ; 
aod  the  work]  we  think,  detorra  a  place  ia  the  oollectioiu  of  tiiOH 
who  wish  ti>  examine  and  pracure  what  ought  to  be  the  pernuBeat 
raonumenls  of  Ilie  progression  of  stjrle.  Tliey  are  also  very  neatlj 
printed,  and  are  not  dear — 117  cjosely  but  legibly  printed  pages  for 
a  guinea. 

CuEnUBiNi'a  ten  canons  arc  alilllc  more  modern,  and  butalittk; 
they  are  printed  in  the  abridged  score,  with  the  parts  under  each 
other,  but  each  taking  tbc  lines  iji  succession.  Tbcre  is  also  an 
arranged  accompaniment.  They  arc  rarious  in  manner,  and  gene- 
rally pleasing  as  well  as  learned. 

Tha  roviral  of  this  intellectual  species  of  music,  it  must  be  granted, 
it  an  almoil  neoassary  anthlule  at  ihu  time  to  the  prevaleDt  dtaotdei 
which  inCects  the  general  tasLs,  and  is  likely  to  eaarrate  tfao  nafaual 
■tmgllk  of  the  English  nndeietandiiigaf  ertrWUhoat  imammagiti 
pitch  or  its  elegance.  Padbb  Uabtixi  and  Siaitos  CBBKDBiiii 
present  us  with  sound  and  slroDg  diet,  and  Hb.  Fsbsaei'v  omik, 
though  fur  more  li^t  and  piqnant,  may  be  taken  without  the  tllj^t> 
est  ft^ar  of  injury  to  the  pa]a(e>  He  will  improve  vhUe  he  atimoUm 
and  escileg. 


SOI 


A  Series  of  Caledoniai  Airs,  mlh  Variations  for  the  Piano  Forte,-  hy 
J.  P.  Burroaes. — Twehx  Ntmbers.  London.  GoulJing,  D'AI- 
BUine,  F«tl«r>  and  Go. 

Our  notice  of  the  two  iint  numbera  of  thii  liltle  work  affiuded  a 
an  oppDitnnit J  of  iotroducing  to  out  readers  some  phtlxxopfaicAl  K- 
marks  of  Dd.Faancklin  upon  the  structure  of  Scotch  mtiil&  We 
have  since  collected  from  foreign  aulliors,  and  out  English  histoiians 
of  the  science,  a  series  of  illustratlre  observations  upon  the  saine 
subject,  which  we  hope  may  throw  some  further  light  upon  this 
amusing  matter.  Far  perhaps  no  aii^,  strictly  national,  hare  ever 
excited  so  universal  an  interest  as  the  Scotch.  Till  of  late,  chieUy 
since  Mb.  Mooue  has  undertaken  the  iilustration  of  popuhit 
melodies,  they  stood  pre-eminently  conspicuous,  if  not  alone. — 
Now  indeed  he  has  embodied  the  Irish,  but  still  theirnew  attire  wilt 
rob  thent  of  much  of  their  ancient  attracttTGDeii,  wUlf  the  Scotch 
ntainiDg  their  original  ivords  as  well  u  notes  will  itiU  probably 
conttnoe  to  lake  precedency  over  all  othor  recorded  natloiiBl  mosEo. 
The  ifdlowiiig  facts  and  inreranon  may  lerve  to  elucidate  Htoe 
points  of  their  origin  and  progren. 

In  ever;  country  where  nuulo  is  knownaparticulor  style  of  melody 
prevails,  which  the  people  of  that  country  prefer  to  any  other.— 
There  is  nothing  astonbhing  in  this  preference,  and  the  dilTerencfl 
distinguishable  between  two  nations  is  not  perhaps  mora  surprtsing, 
than  that  existing  between  two  languages.  What  is  much  raoro 
so  is  the  particular  and  distinct  esptession  which  sometimes  exists 
in  the  music  of  different  parts  of  the  same  nation,  in  the  turns  and 
phrases  of  melody,  and  particularly  in  the  musical  expression  of  two 
sections  of  the  same  slate,  and  of  the  same  province. 

Scotland  furnishes  a  striking  instance  of  thb  diversity.  The  na- 
tiveraelody  of  the  Highlands  ami  of  the  Western  l^es  is  as  different 
fiom  thatofthe  Southern  part  of  the  kingdom  a>  the  Irish  language 
or  £i*e  is  from  the  Eogliib.  Taking  itibi  grantedthat  UiedU&taat 
■entimeiiti  which  fill  the  aoul  of  the  mMioiam  bertowa  peculiar  ex- 
pression on  his  mnsic,  a  reason  maybe  finuid  for  this  phenmaeiioa.  . 

The  Highlands  of  Scotland  form  a  piotnnaqiie,  but  in  general  a 
Tcry  melancholj  country.— A  Jang  extent  of  monntainous  desailBi 


SOS  CALEDONIAN  AIRS. 

oowedvithlmtli,  aod  frequenll^  obscared  by  thick  mists;  coa- 
fioed  raHioff  tbinly  inlmbitcd,  and  bounded  b;  piecipices,  wliidi 
teho  to'  the  ftlL  of  torrents ;  so  rude  a  toll,  and  a  climate  so  fnghUU 
tbat  it  forbids  dlher  pasturage  or  agriculture;  the  lugubrioiu  dub- 
ing  of  the  waves  along  Ibe  arras  of  tbe  Sea,  and  tbe  lakes  with  wbleh 
the  land  is  intersected,  thn  prodigious  uoiae  created  bj  every  btart 
of  wind  or  nishingof  waters,  in  a  aolilstj]  country  filled  wilb  ecboes, 
locks,  and  carerns ;  the  gloomy,  terrible,  and  snblime  appearance  of 
■neb  a  landicape  in  the  Ugbt  of  the  moon ;  snch  objects  shed  om 
the  imagination  a  kind  of  obscnrity  which  cannot  fail  to  tinge  the 
raindof  a  native  in  the  hours  of  silence  and  of  solitude. 

What  then  may  be  reasonably  expected  front  the  musicians  and 
poets  ofthb  nation!  Airs  which  express  joy,  tranquillity,  or  the 
softer  passions!  No — llieir  style  would  be  affected  by  circum- 
stances, and  in  point  of  fact  it  is  found  that  these  Lave  inflncnced 
innslc.  Tlie  wildest  irregularity  appears  in  llie  composilions  of  llie 
Scotch,  llieir  expression  is  warlike,  melancholy,  and  even  approaches 
the  terrible.    Thesame  maybe  said  of  their  poetry. 

Some  uftlie  Soul  iiern  provinces  of  Scotland  present  a  very  different 
aspect.  Lofly  mountains,  but  gay  and  coveted  with  verdure;  clear 
limlets  rnnniog  acroM  laige  and  fertile  VRlIies;  cnltivated  trees, 
■ometimes  isolated  and  solitary,  sometiroei  united  in  groves  and 
biDwen,  and  other  circumstances  pecuUnr  to  these  parts,  render  them 
fit  fiiT  pasiturage  and  favourable  to  romantic  leisure  and  tbe  tender 
passions. 

'  Several  old  Scotch  aungs,  as,  Cowdcn  knows,  Gainshiels,  Gala- 
water,  Etttick  Banks,  Braes  of  Yarrow,  Bush  nboon  Traquair,  &c. 
lake  their  names  from  the  brooks,  villages,  and  mountains,  which 
border  the  Tweed  near  Melrose,  a  region  distinguished  for  the 
charming  yariely  of  its  rural  scenes,  and  which,  whether  the  aspect  of 
the  coiinlrj  or  tlic  gdini'^  of  Ihc  people  be  considered,  mayjusllybe 
considereil  tlic  Arcidia  of  Europe.  All  Ihcec  songs  have  a  sweet 
and  deep  ex|)rcs9ion  of  love,  tenderness,  and  those  affections  suitable 
to  tbe  tranquillity  of  a  pastoral  life. 

It  is  a  common  opInEon  Ibat  these  songs  were  composed  bjDi.TiD 
Rizzio,  the  nnfortnnate  fkvaritB  of  an  unfbrtunale  Queen :  bnl  thb 
molt  be  an  error — the  style  of  the  Scotch  mnsic  being  determbed 
before  tbe  reign  of  Mary,  and  (he  best  of  these  airs  have  been  ba- 
dhloiiiill;  traced  to  much  more  distant  periods. 


CALEDOFTIAK  AIIU. 


503 


Neitber  onght  it  to  be  imagined  that  a  stranger,  who  in  the  Inder 
part  of  his  life  iias  devoted  to  business,  should  acquire  or  invwit  a 
style  of  niueic  so  diHeTCnt  in  every  respect  from  thai  to  which  he  hiid 
been  accastomed  in  his  own  cotintry.  Melody  is  so  niitcli  the  cha- 
THtermtio  of  the  Scotch  ain,  thai  it  is  even  doubtrul  nbetfacr  Ihej 
had  bastes  b^mtbe  preaeut  century,  vhibt,  in  Riazio**  time,  bar- 
monjirwtbe&TariteBtndyoftbe  Italian oompoeers.  pALEnniNA 
binudl^  wbe  fiosriahed  two  fanndred  and  sixty  years  sgo,  and  wb» 
•bbUoed  t]w  gloiioaB  thkof  the  fiither  of  batnnny,  attached  birasdr 
exclastrriy  to  oounterpoint;  and  whm  Riizio  stadied  bis  art, 
PALBtTBiiTA's  music  roust  have  been  in  the  highest  favour  in  Italy. 

Besides  although  the  style  of  llic  ancient  Scotch  tnelody  has  been 
well  imitated  by  Ostalb  and  other  Scotch  musicians,  no  foreigner 
baa  been  knovn  (o  have  acquired  its  true-spirit.  Gemintani,  who 
was  a  f^reat  admirer  of  Scotch  airs,  said,  lliat  he  had  destroyed  seve- 
ral quires  of  paper  in  endeavouring  to  compose  a  second  part  to  the 
beaolifnl  air,  "The  broom  ofCowden  knows."  Tassoni,  author 
at  La  Se^mt  rapila  speaks  of  this  rauaic  as  very  much  esteemed  by 
the  Italians  of  his  daj,*  and  attributes  its  invention  to  King  James 
of  Scotland,  an  opinion  which  might  eauly  be  adopted  by  a  fatelgncr, 
beoaOM  idl  tiie  Seotoh  Kings  of  Ihb  name,  a&d  psitlctiluly  the  first, 
tUid,  fenrib,  and  fiftb,  were  vened  in  irnisic  and  poetry. 

The  teitlmoDy  c^Tasrovi  prares  that  this  masio  is  derived  from 
an  earlier  period  tban  that  in  which  Rizaio  existed.  One  must  not 
however  adoprl  his  opinion  of  the  inventor,  nor  must  Ihoy  be  be- 
lieved who  give  the  honor  of  this  invention  to  tlie  Monks  of  ftfelrose- 
ilis  more  probable  that  these  delightful  melodies  had  their  origin 
amongst  shepherds,  who  really  experienced  the  scntimeuta  And  alTcc. 
ttons  they  so  well  express. 

Rizzio  may  have  been  one  of  the  first  who  made  a  collection  of 
these  melodies,  or  be  may  have  executed  them  more  delicately  than 
any  of  the  Scotch  mnsicians  of  the  same  period,  or  he  may  perhaps 
have  corrected  the  extravagance  of  certain  psssagos,  for  one  is 
struck  by  the  regularly  of  lotne  of  Iliesc  airs,  whilst  we  are  amused 
fcyftBirUdnMofotben;  and  in  either  case  the  Scotch  may  be  said 
tooir*  htm  obUgalioii.  Biitthat  this  style  of  pastoral  melody,  so 
ASvMt&wn  tbe  Italian  ndadj'af  the  same  age,  and  m  peculiar  is 


*  Tlssom  ma  ban  iq  iSOfi. 
TOff.  itl.  xo.  XII.  3  V 


504 


CAIxCDONIAN  AIRS. 


every  respect,  ilioiilil  imvc  been  cstablubed  or  inveated  by  him 
appean  imponiblc. 

Th«  moat  general  opinion  at(ribu(e9  tbe  origlii  of  Ulii  UCtoit 
mniic  to  the  bards,  who  aRer  having  fliMitislKd  in  Irdaod  and  in 
almost  evflif  put  of  Europe,  paned  iatoSootland,  and  carried  vUt 
tliem  their  poetry  and  Hingi.  In  theHigbtandipaiticnWri;  where 
tile  moit  ancient  Scotcli  airs  are  preserved,  cacb  chief  forraerly  en- 
tertained a  bard  in  liis  family,  whose  business  it  was  io  celebtale.by 
songs  Ibe  heroism  of  Ilia  patron,  and  (lie  cxploils  of  hh  nncedon. 
Ann tlier  considerable  function  of  tliese  musicians  and  domett ic  pM(i 
mu,  to  sing  llie  dealli  of  tliose  vho  had  employed  them,  and  their 
elegiac  compositions  were  considered  of  so  niucli  consequence  to  the 
souls  of  the  deceased,  that  those  who  were  so  unfortunate  as  to  be 
deprived  of  this  honouniblc  atlention,  were  supposed  to  wander  in 
the  Ibick  mists  \riiich  hover  over  tlic  lakes. 

Tbe  harp  vai  Ibe  iiuttuinenl  of  the  bard*.  When  they  ceand  to 
be  in  favour,  and  even  after  tiiey  were  nearly  forgotten,  their  ain  and 
harpi  continued  to  be  prelened,  priaotpally  in  tlie  Highlands.  To 
the  harp aucceeded  the  Bagpipe;  which,  vitboatbdag as aacieiriaa 
the  harp,  it  still  of  great  antiquity. 

This  constant  use  of  music  in  funeral  ceremonies,  sufficiently  ex- 
plains (lie  melancholy  and  plaintive  style  of  a  great  number  of  these 
ancient  airs,  which  have  an  effect  analogous  to  that  of  music  in  the 
minor  mode ;  altliough,  strictly  speaking,  tiie  real  system  of  modes 
and  keys  is  so  entirely  modern,  llmt  there  are  very  few  of  these  aire 
that  can  be  accompanied  throughout  in  the  minor  mode. 

In  theairs  which  arc  apparently  minor,  the  seventh  is  not  always 
ranjor,  although  the  sixth  is  sometimes  so  ;  and  the  air  modulates 
from  one  key  to  another  willi  no  other  law  than  that  of  the  ear  of  the 
composer.  Sometimes  a  very  short  air  ends  in  a  different  key  from 
that  in  which  it  began,  and  sometimes  it  Inminatei  with  die  haiBBBf 
of  the  fourth  or  fifth  of  the  key,  instead  of  that  orihe'tomc 

One  of  the  most  striking  particularitiei  of  the  Scotith  mmic  u  the 
omisrion  of  certain  notes  of  tbe  scale,  psilioatuly  itf  tfae  fourth  aod 
■eventh,  Sone persona  have  attributed  thissiDgnlatitjtol&BliBiited 
extent  of  the  ancient  iostramenta  by  which  tbe  Sooted,  aaogs  were 
accompanied.  The  Fiencb  EacydopAdiitB  qbote  tbe  Mowiag  » 
the  observations  of  a  professor  coramnnicated  to  the  author  of  their 
article 


*'  We  afleii,"  lie  obserred, "  torAient  omtelm  to  ditcover  icience 
wtiere  there  it  merely  a  roolina,  realities  wliere  there  is  on!/  iina> 
ginalion;  in  ihort,  aiMiiething  vheie  there  ii  nothing.  The  de* 
grces  bj  ^hich  Scotch  music  vas  raised,  relate  to  tlie  d^roe  of  per- 
feclion  of  iho  instriimcnU  tlicy  cmplojed.  This  iras  at  first  a  spe- 
cies ofharp,  on  ivhicli  tlic  gamut  was  not  complclc,  and  since  tlic 
bagpipe.  All  Scotclimcn,  who  have  spoken  of  tlicir  music,  liavc  de- 
scribed it  pfissionatclj,  but  uot  scicDlIticallf  ;  vrc  find  in  what  they 
liavu  rmnarkcJ,  but  llic  csalled  imagination  of  Caledonian  monO' 
taiimcrs.  Scniimcnl,  imilnlion,  and  ignorance  presided  at  tbcir 
musical  production.    I  think  vc  need  go  no  further,"  &c. 

Adrnitiing  ilic  Gcvcritj  of  this  opinion  Upon  Scotch  music,  tbers 
jet  remairis  (o  be  mnilc  some  observations  upon  lbs  omission  of  some 
of  the  notes  of  the  gamut 

The  ancient  enharmonic  of  the  Greeks,  flic  invention  of  nliich 
Flvtadch  atlribiilcs  Io  Olympus,  and  difTering  from  that  spcciesnf 
enhBTinonic,  which  proceeded  hy  quarters  of  tones  gave  by  llic 
jnnction  of  the  two  letrachordi,  the  minor  gamnt,  the  fourth  and 
wventb  of  which  were  cnt  oS.  It  vat  in  tliii  Dorian  node  wfiich 
hail  its  scale  tbui  disposed :  D,  b  B,  A,  F,  E,  D,  D,  E,  F,  A,  B,  D. 

This  is  exactly  the  nncicut  Scolch  scale  in  the  minor  key.  This 
relnlion  is  very  surprising  and  the  following  is  no  less  so. 

The  Abb6  Roussier  in  the  second  article  of  his  memoir  on  the 
music  of  the  ancients,  mentions  an  ancient  Chinese  scale,  composed 
of  siic  notes  of  which  Rameav  bas  also  spoken.  It  has  been 
preserved  in  figures;  and  according  to  Uameau'b,  iiirorpre- 
latiuH]  who  apiilies  the  figures  Io  ascending  SCl\a  Ihcy  produce  this 
HmeSootoh  scale  in  a  m^jor  key,  only  adding  a  note  to  complclc 
the  ootave  C,  D,  E,  G,  A,  (c.) 

The  AJibi  RoDssicT  combats  this  interpretation  by  reasons  which 
appear  plausible  enough,  but  which  might  be  nsgardedwith  suspicion 
from  his  desire  to  support  a  parlicnlar  ^em,  whilst  those  of  Ra. 
MBAir  who  had  no  intcrrat  aud  conscqDenlly  no  prtjudicc,  at  lead 
establishes  a  very  natural  scale,  which  is  found  to  bear  a  aiggular 
relation  with  the  ancicnl  enharmonic  of  OLTHPira,  and  the  undent 
Scotch  scale  by  this  retrenchment  of  the  fourth  and  leventh. 

The  only  piece  of  music  cited  by  Roussbao  corrdMirafes  the 
suateof  Rahbau.  Neither  the  fourth  nor  seventh  of  the  hey  ar< 
3v  i 


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CALEDONIAH-  AIRS. 


to  be  fouud  Id  it,  and  it  miglit  rc&lly  be  Ukea  Ibr  an  an<^l  Scotch 
scale. 

<*  Then  ii  nothing,'*  lays  *'  Dr.  Bvrhet"  which  ^nt  a  more 
marlicd  character  to  melody  than  the  coDslaat  omii^ii  of  eeitain 
notes  of  the  gamut.  Supposing  even  (hat  it  vers  not  knom  what 
notes  the  Grcdu  omitted  in  tbeir  enhanaonic  scale,  it  does  not 
appear  the  Ins  generally  true  that  in  composingthe  old  Oied  mnsic, 
vrhich  PlatO)  AnieTOTLE,nn(l  nil  authors,  rankaboreniore  modem 
music,  the  first  musici^irs  d(;li^''li(ud  in  brcQlhiiig  flic  diatonic  pro- 
gression, and  in  oiniiling  ccitain  nutcs  uf  the  mclorly;  thus  the 
style  of  the  ancient  CtccI;  n^iliuriiil  airs,  were  probably  much  related 
to  (he  ancient  Scolcli  musit,  iis  it  h  cluar  that  it  bears  much  re- 
semblance lu  CliincsG  inviiic." 

No  nation  has  ever  applied  mnsic  to  so  many  iisfful  purposes  as 
the  Scotch,  particularly  in  the  higblamls.  Il  is  irclt  known  how 
highly  tEn^sreMimated  by  the  sound  of  their  bagpipe.  There  is  a 
modern  instance  of  it  which  is  nearly  as  strong,  and  perbapi  more 
authentic  Iban  any  of  the  most  astonishing  traits  of  ancient  muaic. 
Attbe  battle  ofQuebec,  in  1760,  while  the  English  troops  mm  le- 
tiring  In  disorder,  the  General  complained  to  a  superior  officer  in  tite 
regiment  of  the  Scotch  Fraseis,  oftlie  bad  conduct  of  bis  corps.  Sir, 
replied  tbe  ulllcer  with  warmth,  you  did  very  univisely  in  forbidding 
the  pipers  to  play  tliis  morning.  Nothing  encourages  the  high- 
landers  on  tlie  day  ol  battle  m>  niiicli,  and  even  now  it  might  be  use- 
ful. The  experiment  was  Irieil,  and  as  soon  as  (Iiey  iionrd  their  na- 
tioitiil  muaic  tliey  returned  mui  gaily  formcil  tlic  rear  gnnrd. 

The  modern  Highlanders,  like  the  ancient  Greeks,  sing  during 
every  surt  of  labour.  The  songs  tn  use  in  the  Hebrides  and  the 
Western  coasts  are  usnally  short  and  plaintive,  particularly  dur- 
ing those  labours  where  many  persons  are  employed  together, 
as  in  milking  cows,  keeping  sheep,  wesTing  clolb,  grinding  com 
with  hand  mills,  mowing  grass,  and  reaping  com.  At  Rbmbj 
Doctor  Johnson  observed  (he  women  catting  the  c«mi  whOa  the 
men  tied  itin[o  sheaves,  the  strokes  of  (lie  reap-book  were  matk* 
ed  by  the  fimeoftbe  reapers' song,  which  they  sung  together.  Tho 
men  bare  also  their  songs  for  rowing;  they  marie  the  time  with 
tiie  oan  in  the  same  manner  as  the  women  with  the  instramenta 
tued  in  their  Torions  employments.  When  the  same  afn.aiv 
iung  in  their  hours  of  repose  tbey  mark  the  time  by  (Eie  moTemant^ 


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ckvebfAniai  Ana. 


a  napkin  held  hj  all  who  sing.  There  ia  one  tibo  coDdacti  the 
others,  but  at  a.  cectaiii  place  in  tlic  air  he  slops  totnke  breath.  The 
others  then  conliniic  and  finish  the  song,  adding  to  it  a  cbarna  of 
vonls  and  sjllnblcs  which  in  gcncrnl  have  no  meaning. 

They  are  ^assiunutelj  fund  of  hearing  the  bagpipe  during  their 
rcpasis,  and  a  traveller  n  ho  viiil9  n  highland  cbferit  generally  legoled 
by  national  airs  while  lie  is  nl  lable. 

There  is  somelliing  pecnliar  in  the  music  of  Ihe  inbabilnnts  ofSl. 
Kilda,  although  their  only  instrument  is  one  of  (he  must  cnnlcmp* 
tible  existing)  that  ia  to  say,  the  jeir's  harp  or  the  harp  without 
pedali.  The  mutes  of  St.  Kilda  are  as  simple  at  its  iuhabitaots. 
At  the  end  of  titeir  fitbitig  season,  when  Hie  winter  prorisions  of  Ibis 
Bttle  i«pnbKc  are  deporited  in  tafetj  m  a  honse  destined  for  this 
purpose,  called  TIgb-a-bariba,  tbey  all  assemble  there,  as  in  Qte  most 
■pacioas  of  their  possessions,  and  hold  a  solemn  asserabty ;  tbey  ting 
with  exprcssiona  of  joy  and  gratitude  one  of  their  best  airs,  of  which 
the  words  are  nearly  as  follows:  "  What  more  can  we  desire?  there 
is  an  abundant  provision  of  fitli,  of  all  kinds  (they  here  name  all  the 
fish)  kept  for  us  in  the  Tigh-a-bnrrhn."  This  rude  song  is  the  ex- 
pression of  the  joy  of  a  iimple  and  laborious  people,  and  which 
shews  the  measure  of  happiness  which  may  suffice  to  mankind  in 
such  ft  state. 

It  is  extremely  difficult  to  procure  these  ancient  airs  in  their  primi- 
tive simplicity.  Often  among  several  copies  all  written  by  penotn 
of  the  country,  there  are  not  two  exactly  alikeri^nd  it  is  not  always 
eaty  to  recognise  that  whicb  is  most  conect.  Some  original  airs 
may  have  been  considerably  altered  to  adapt  (hem  to  the  harp, 
others  have  been  con«cted  by  nodem  mtisicians,  who  liave  more  tto- 
qnently  spoiled  than  perfected  them. 

A  very  curious  collection  of  national  songs  has  been  given  to  the 
world  by  Mn.  Hogg,  the  Eltrick  Sliciihcrd.  lie  complains  of  Ihe 
mixture  which  he  found  in  obtaining  the  airs  from  the  people  of  the 
country,  but  the  M.S.  collections  with  which  he  was  favoured  having 
generally  the  names  of  the  tunes,  solved  roach  of  the  diGcnlty ;  but 
this  exhibits  a  strong  proof  of  the  dq^jierate  state  of  the  national 
airs. 

We  must  now  come  to  Ha.  BirasoWBs's  publionUon.  The 
tliemes  be  has  chosen  are  (werecapitolafe  the  tiro  first  to  make  the 
series  complele) — 


508 


CALEDONIAN  A  IBS. 


1.  Kcnmure's  on  and  uwa. 
S.  TheBlueBcUorScolUnd. 

3.  Au!(!  Kobin  Graj>. 

4.  Auld  Lang  Sjne. 

5.  The  White  Cockade. 

6.  CliuUe  is  mj  Darling. 

7.  The  Highland  Laddie. 

8.  Saw     my  Folher, 

9.  Tweed  Side. 

10.  Maggie  La  ml  cr. 

11.  Shcplicrds  I  have  lost  my  Love. 

12.  The  Auld  Wife  ajoiit  t!ie  Fire. 

Ma.  Bdhrowes  has  selected  his  airs  judiciously,  aud  the  entire 
set  furiii!!  It  consideiciblc  body  of  practice  and  aninscnii'til.  Where 
he  hiis  erred  has  been  in  eslaiiliiig  iiis  work  loo  mucli.  There  nre 
sevenlj-tHO  varialions,  am!  to  maite  these  really  various,  consider- 
ing the  expcdilian  n(;ces^nrily  used  in  completing  Ihc  scrica,  vould 
imply  a  draft  upon  talent  and  ingenuity  far  beyond  the  poarBis  of 
most  men.  Thus  wc  lind  near  resemblances  in  some  of  the  UBm* 
bers— tor  example,  Var.  1  of  No.  3,  and  Var.  2  in  No.  10,  are*  so 
alike  that  the  subject  coDslitutet  altoost  the  sole  diflerence.  Again 
the  tame  remark  applies  to  Var.  1  of  No.  4,  nod  Var.  1  of  No.  19; 
The  sixth  numbec  ts  the  best,  for,  in  additbo  to  a  beautiful  theme, 
Mk.  B.  has  adopted  our  former  suggestion,  and  made  his  VHriatiant 
assume  the  almost  novel  form  of  a  march  and  quickstep,  both  of  which 
are  so  well  executed,  thatlhey  lead  us  lowUh  hehad  pursued  the  idea 
into  more  remote  applications.  The  commencement  of  the  introduc- 
tion to  No,  3,  is  obviously  tlicfruit  of  some  reminiscence  of  the  opening 
of  PERaoLESi's  sublime  song,  set  to  Ihc  English  words  "O  Lordhmx 
tnerci/  upon  nre."  We  like  to  find  these  sort  of  classical  allusions, 
and  they  always  leave  a  desire  to  meet  such  recollections  more  fi^ 
qurally.  If  a  scholar  were  desired  to  produce  a  latin  ode,  be  would 
be  thought  to  have  executed  his  work  in  the  most  masterly  nuutDO', 
should  his  phraseology  be  drawn  from  the  language  of  Hdbacb; 
and  wc  do  not  see  why  the  same  conduct  in  i^ard  to  nuddt  ihonld 
not  apply  to  musical  compwition.  A  plagiarism  is  ono  tb^,a 
qootalion  or  the  inlenpeision  of  cloMical  phtaiea  is  Rootbnr.  Tbe 
great  objection  againri  variations  u  their  want  of  witij,  and  tiU  sri 
ionns  aie  rejected,  (they  ate  now  completely  worn  oaf)  &e  (^cctka 


CALIDONUN  AIRS.  £09 

will  remain.  HB.BuBBOwuluuiurfqaiteBToided  these,  but  never- 
theless he  bu  (D  placed  even  pasnges  that  are  htcknied,  at  to  render 
them  Yerf  agreeable.  Hu  work  msy  theiefore  benoommended  u 
eaajr,  ainiuing,  beneficial  to  practice,  popular,  and  efiectire. 


Theme,  with  Variations,  an  Jnlrodiiclion  and  Finale  fur  the  Piano 
Forte;  composed  ht/  Richard  Sharp.  London.  Gouliliiig,  D'AI- 
niainc,  Poller,  anil  Co. 

JlGiomo  felice;  a  Dhxrlimento  for  the  Piano  Forte;  Sy  T.A^liaa- 
.  Hag!.  London.  The  Royal  HanptuficI^t^uMoo.. 

We  imagine  the  fint  irf  tbeie  artioles  to  be  tbe  maiden  produdion 
of  one  of  the  yay  namennB  brancbes  of  the  miwical  fiusllj  of  the 
nme  pndific  and  mpectable  name,  and  it  Is  hlghlj  credft^Ie  to 
this  jonng  proleisor.  It  posuMet  the  lint  of  requiBitea — melodjr; 
and  it  has  also  fancy,  feeling,  viracitj',  and  good  Inste.  It  is  more 
chastened  from  the  mere  remplitsagc  which  too  often  Gils  the  mind 
of  verj  jouug  composers,  than  most  early  works,  while  it  vnilures 
to  break  the  fdlers  of  example,  with  the  modest  and  proper  mnbitioo 
of  one  desirous  to  carry  bis  attempt  beyond  the  common  boundaries, 
yet  not  lt:ss  anxious  to  escape  the  danger  of  loo  bold  and  venturous 
a  range.  Such  appear  to  m  to  be  the  geaeral  charactciistics  of  Mb. 
R.  Shakf's  performance. 

The  introduction  we  coniider  at  amongat  the  least  striking  parts 
of  Ibc  lesson,  while  we  (bink  tbe'tbeme  simple  and  melodioni  and 
exproiive.  Tbeiecond  and  tbe  leventh  variationi.are  very  good,, 
and  Uie  finale  is  animated  end  imaglnatire-  With  nich  reconuneo* 
dationSftbiscomposition  has  a  title  to  a  toflier  place  than  belongs  to 
Uie  million  of  Ibc  short-lired  novelties  of  flin  day,  which  arc  now  so 
roultitudinoas  that  they  perish  by  tin;  laoio  pressure  and  aggrega- 
tion of  their  own  numbers. 

Mb,  Rawi-iiios  is  a  tried  man,  and  has  produced  a  good  many 
Tory  agieoable  thingB-  Thit  ii  of  the  tame  standard.  It  exhibit! 
Irails  of  simplicity  and  taste ;  and  although  tome  of  the  mialEMa 


610  HoscBnun'  cmpositions. 

antM  formal — (oo  mudi  aSet  the  conimun-]ilnce  roulioe,  jet  the/ 
m  noao  of  them  TBlgnr.  Tlie  Ontiae  is  pnrticiilatly  plessing,  And 
own  BOTCl  thBn  li  nraal. 


TVie  Ilarinonious  Blachsmilb,  a  celebrnkd  Air  Handel,  mlh  adirely 
new  Variations  composed  by  Jgnace  Moseheles.  I>ondon>  By  the 
Royal  Harmonic  Inslitulion. 

Capriccio  for  the  Piano  Forte,  composed  by  Ignace  Mtadldtt*  LoB* 
don.    Rj  the  Royal  liarmonic  Inslitulion. 

Three  Herok  Mafeka,  fiir  too  Perjormen  on  the  Pisto  fbrtCt  ondt- 

.  poted  by  It  Moichela.  London.  Cbappell  and  Co. 

Few  piBjen  erer  Disde  so  ttnng  an  impteHim  at  muXf  a*  JSm. 
U01CHB1.M  at  Ihe  PbilfaBmonie  Conceit  lut  momm.  So  decided 
indeed  irns  hit  perfoTmance,  lliat  the  prafeision  anented  hy  acclam^ 
lEon  to  his  extTaordinary  meiit.  He  arrived  so  lale  in  tite  reason 
that  he  can  be  yet  laiil  to  have  been  but  liltle  heani  by  the  English 
public,  whatever  may  fac  known  of  his  excellence  in  the  more  con- 
tracted private  circles  where  lieplayed.  At  the  Philharmonic  he  natu- 
rally Klectedauch  acompusltion  as  might  enable  him  to  brinj^intD  vie* 
as  many  of  the  highest  qualities  of  a  finished  artist  as  poseiblR.  Hei- 
ther  had  his  own  works  been  much  circulated  in  this  country.  From 
these  circumstances  it  would  necessarily  happen  that  hia  pecnBar 
style — the  tramcrlpt  of  his  mind  and  the  reflection  of  his  powcn — 
might  yet  be  said  to  be  only  partially  obEerved  and  known.  The 
mnsicat  world  will  therefore  turn  their  regard  with  more  than  ordl- 
nary  cnriositj'  towards  the  writings  of  so  eminent  a  performer,  in 
order  to  discover  and  appreciate  tbe  particular  bent  andcleratioa 
of  bis  genins. 

The  IJarmomous  Blacksmilh  is  a  lliemc  of  far  greater  celebrity 
than  most  of  tliosc  adopted  by  English  composers.  Why  this  lesson 
is  M>  called  we  have  never  been  able  to  learn  or  discover,  although 
it  has  been  a  frequent  subject  <A  onr  enquiry.  The  on);  DeqjeGton 
m  can  tarn  h,  that  it  taltei  iU  titie  fntn  Ae  tanocnrieai  conrtrac 


MOSCHELES'  COHPOSmONS. 


611 


.  tion  and  replication  of  the  parts,  Vhich  may  bear  an  imaginary 
resemblBnce  (o  the  strokes  of  the  lesponsivc  hammer  upon  tlie  anvil. 
Bat  the  snbject  and  (he  lesscm  are  both  of  auch  sterling  merit,  that  it 
argue*  a  strong  self-dependence  to  risk  (he  certainty  of  comparison 
which  (be  augmentation  (or  re-setting  as  it  vill  by  many  be  esteemed) 
of  these  noble  Tariations  will  certainly  entail  upon  the  anthor.  It  is 
also  vorthyof  remark,  that  Handel's  Bvedoubla  (as  they  are  called 
in  the  old  eo'piet'),  are  all  made  with  (he  tmlfbrmlty  of  principle  now 
M  entin^  worn  ont  and  threadbare,  and  they  oire  Ibelr  command 
orer  oar  esteem  to  the  boldness  and  beanty  of  (he  subjects,  to  the 
flowiog  melody,  fine  harmony,  liatnral  modnlation,  and  easy  bnt 
animated  motion,  rather  than  to  any  ingenuity  of  contrivance  or 
■arpassing  poner  of  invention.  Somelhing  too  is  attributable  to  tlie 
name  of  HANOEii,  and  to  the  early  place  in  our  musical  associations 
vrhich  Ihb  lesson  is  almost  sure  to  obtain. 

Mb.  Hosohelbs'  variations  are  seven  in  number,  and  the  first  is 
very  singular;  the  bass  and  treble  both  contain  the  principal  notes 
of  the  theme,  but  the  change  of  (he  rythm  and  the  interspersed  notes 
give  the  melody  a  very  quitiat  and  peculiar  turn.  This  appears  to 
us  to  be  amongst  the  most  original  variations  yie  have  lately  seen. 
Numbers  2—5,  and  part  <^7,  (that  towards  the  conclusion)  is  more 
in  the  Ttumner  of  Ha.  HosCHBLes,  (ban  the  other  portions.  He  de- 
lights in  triple  and  ui  notea  of  force,  either  by  accidentals  or  by 
sadden  leaps.  He  frequently  also  gives  the  air^  one  pari,  either  at 
top  or  tntermedlate,  and  keeps  a  second  part  at  work  in  this  way 
with  the  same  hand.  He  thus  by  the  introduction  of  nevr  tnelodies 
shews  his  mastery  over  the  instrument.  These  variations  however 
aro  not  as  full  of  execution  as  might  be  expected  from  so  great 
a  pluycr. 

The  capriccio  is  of  coane  as  its  title  imports,  numeris  solutis.  It 
begins  in  a  bold  £(yle,  though  in  a  minor  key,  that  of  A — it  passes  in 
a  very  few  bars  through  its  sub-dominant,  and  returns  to  its  original 
tonic  ;  these  first  five  ban  are  then  repeated,  but  in  the  sixth  the 
substitution  of  the  dominant  of  C  for  that  of  A  conducts  to  the 
major  C  instead  of  the  minor  A.  To  the  left  hand  a  single  chord 
npon  the  second  time  of  (he  meatare  is  allotted  in  each  bar,  iluring 
the  first  fonr  bars,  while  the  melody  consists  of  a  ^gle  note,  remain- 
ing during  hidf  the  measure  (1),  lacceeded  by  a  descending  triplet, 
tlie  oexf  ncAe  being  tin  interval  above  the  last  itf  the  three,  as  thns, 

T01i>  tU.  MO,  XII.  3  X. 


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&I2 


MOBGHELES'  COMPOSITIOHI. 


C — b  a  g* — A — g%  f  e — F,,&c.  The  compogcT  then  b^iru  lo 
sport  upou  tlic  separated  noteB  of  a  seiies  of  successive  chords,  wilh 
liis  treble  lianil,  irliile  hU  basa  beats  the  time  with  regular  repetitions 
of  the  harmonies  of  the  dominant  and  toiiic.  A  mixed  melody 
is  then  oommeoced  and  continued  for  manj'  ban,  when  the  bui 
takes  a  mom  Sganle  >hape,  and  keep*  op  a  rq;D!ar  jnagretNOU  of 
aciMimpaniaieDt  lo  an  upper  part,  nhich  conriits  of  a  melodj  of  onXy 
three  notes,  two  quavcn  and  a  cnrtdiet,  now  aaoendiug  then  desooid- 
ihg  through  the  former  and  through  miona  modalationa — a  sort  of 
conoectfng  panage  bj  tbe  right  hand  only  then  leads  to  a  new  subject 
(in  which  the  same  hand  Is  brought  dotrn  to  the  bass),  of  four  qaaven 
end  a  croLchel — e  /'g'  e,  C,  and  [low  rising  now  fnlling :  this  ariicr  of 
snccesiion  is  preserved  during  a  cotisidciabic  space  with  !>maH  intcr- 
misBlon,  the  bass  nt  Ihu  same  lime  being  iliviikd  inlo  clionJs  uf  a 
minim  and  a  crotchet  in  i':icIj  ii:ir.  AClcr  sumc  diSerent  modulation 
the  comporition  rehiriiv  lu  tin:  mnjur  key  of  C,  when  another  subject 
is  etariedjof  great  force  and  effect,  of  three  crotchets,  the  notes  of  the 
oliord  of  C  m^oT  and  A  minor.  After  thoe  bars  s  paisage  having 
a  remote  relation  to  the  original  sniyect  rerened,  appear^  and  allei- 
nations  of  these  with  fVesh  modatatfoni,  oonduot  to  a  iDcces^oDirf 
chords  in  crotchets,  which  condnde  the  first  part.  Thus  there  1b  bo 
prlnclpnl  subject— no  episode— but  six  sepuala  thetet,  wbidi  aie 
indeed  hardlj  to  be  called  melodies.  The  whole,  in  point  of  fad,  is 
written  for  ciTcct,  and  the  transitions  of  expression  are  rapid  and 
Yiirious,  requiring  as  much  as  anj  thing  we  have  ever  seen,  the  pe- 
culiar qu ill  ificat ions  and  powers  of  the  author  himself. 

Tlic  coiiiluiliiig  chord  of  this  part  is  C  wilh  the  flat  seventh,  thiu 
becoming  the  dominant  of  F,  into  which  there  is  an  i 
Iranbiliuii.  In  the  second  movement,  which  is  in  march  timers  peen* 
liarity  which  appears  throughout,  is  observable  in  the  commencing 
notes.  It  begins  on  the  fourth  time  of  the  measure  and  with  an 
octave.  There  is  here  too  a  subject  which  is  worked  upon  through 
at  least  half  tbe  movement  in  a  rtgiilar  manner.  In  a  third  and 
coacloding  part  the  original  theme  is  preswv.ed,  and  this  alio  till  the 
cadence  occurs,  is  taiicn  up  by  parts  and  wraughf  into  diverse  fon»> 
The  cadence  is  composed  of  arpi^gie  in  tbe  trdile. 

The  Heme  Marcha  are  in  a  style  not  leas  proper  to  H.  Hoi- 
CHBLEB.  Th^  circnDutance  about  them  that  fint  challeoges  obtcr- 
vation  is  the  absence  of  ffldodj*  and  the  acciunnlaUoii  of  passage*  of 


HOSCHELES'  COHPOBITIONS.  513 

force  and  transition,  to  which  be,  and  perhaps  lie  alone,  is  capable  of 
gWiag  ihe  troe  eSect.  To  general  ears  there  is  a  hardness  and 
vant  of  coDtiDoity  which  can  onlj  be  compensated  bj  an  cncrgj  and 
grandear  in  the  manner  of  perfonnance  that  the  greater  nainber  even 
of  great  plajera  are  amqnal  to  attempt.  A&fiur  as  the  mere  notes 
are  concetned  tfaeie  is  nolhii^  very  difficult}  but  we  ate  satisfied  all 
the  effiuts  intended  the  aulhoi  vill  evaporate,  unlex  they  are  per- 
formed by  a  person  thoroughly  Bcqnalnted  with'  his  mnnner.  There 
is  hardly  a  bar  of  melody,  properly  lo  called,  from  beginning  to. 
end.  The  apprehension  must  be  trained  in  (be  school  of  the  author 
lo  receive  such  muMc  irith  pleasure. 

TIip  leading  ami  [itoiniiieiil  attriliulos  of  Mr.  Moschei.es'  style, 
wetlioiiki  s!iy  Llieii,  art  farce,  coiifratl,  and  singularity;  he  ob- 
viously disdains  Bow  and  enectncss,  unU  always  nims  at  grandeur 
and  elevation.  He  delights  to  "ride  in  (he  whirlwind  iind  direct 
thestonn,"  and  leaves  to  softer  spirits  to  revel  in  the  sunshine  and 
sail  beneath  the  mild  moon-beam.  Yet  hb  compositions  do  not 
run  into  the  extraTsgance  of  Ihe  day — he  is  rather  quaint  than  no* 
lent ;  but  in  these  compoiitionB  at  least,  he  bai  given  strong  proofs  of 
mannerism;  and,  vhat  will  most  disnppirint  the  world,  will  be  hb 
desertion  of  the  quBlUy  most  in  teqaett  and  almost  fitst  in  llie  admU 
lation  of  tbe  bearer,  contbaoiu  and  (weet  mdodj,  iritbout  which 
■nnsic  ma;  be  learned,  ingenjoui,  tuiprising,  and  ei en  powerful,  (fbr- 
idl  these  perkapt  Ma.  Hosohelei'  coroponlion*  will  be  esteemed  to- 
be}batl(  ncreiiinks  intotheioiil,  not  lives  in  the  recollection. 


Thr.  Rimiaa  Maiden's  Sotig,  composed  bj/  John  BeeJe-  ZiOadon. 

(For  (be  AutboT.)    By  Ibe  Royal  Haitnonic  lutilalioiii 
Dear  Conienl,  a  Ballad,  composed  by  T.  Cooke,  Director  of  the  Mvne 

at  Ihe  Theatre  Royal  Dniri/-lane.  IxmdoD.  (Foi  the  PntpiietoR.} 

By  tbc  Hoy al  Harmonic  Institution. 
TTiet/ tempt  Me  not.    Composed  by  M.  P.  Com.  LoDdon.  Wheal- 

Sweet  is  the  balmy  E-oemng  liour,  a  baUad;  Ihfi  Mutie  composed  oM 
aa  Accompaniment  for  the  Piam  FmrUt  bjf  J,  iPMitrdie,  Mm- 
Bae.  Oxoa.  London.  Olemeati  and  Co. 

PerbBpi  die  reader  irill  piobaby  bo  ai  mnch  pnzded  as  the  ciitia 
to  IB,;  vhy  theHcomporiluHU  shonld  be  classed  together,  fiv  in  troth 
the  onily  reason  wbicli  adet  tome  thought  he  can  assign  is,  lhat  tbe; 
irillnot  dan  with  any  thing  else,  allhough  unlike  eBch  other.  Pn- 
hapi  also  the  reader  may  be  inclined  to  quarrel  with  the  critic  for 
giving  such  things  notice  at  all>  But  against  (his  it  must  be  urged, 
that  it  is  become  necessary  to  shew  (though  in  a  very  slight  degree) 
that  such  things  are  published,  in  order  to  deter  others,  for  no  one 
(except  it  be  the  writer  of  this  article)  can  thoroughly  apprehend 
the  uncommon  multitude  of  impertinent  nothings  that  crond  belore 
tbe  mnsicalpublic. 

The  simplicity  of  ITie  Russian  Maiden's  Song  is  unequalled,  ex- 
cept by  Dear  Conle^,  vrhich  is  simpler  and  dearer  hath.  The  tint 
stancB  of  The  Russian  Maiden's  Song  is  as  follows  :— 

Sits  a  fair  maiden  at  evening  still, 

Under  the  oak  tree  neat  the  liU, 

Singing lia  wmg  of  lore; 

Sire^;  it  watblei  otw  thegror^ 

La  rA  rsl,  la  Id  Ib. 

O  dear,  how  very  prtAty  I 

Now  for  «  Dear.  Coaent." 

Oh  ne'er  maj  love  of  wealth  or  powV, 

In  humble  bmuts^rise; 
For  wealth  is  weak  whro  troaUei  low'r> 

To  seal  np  watehAiIqrei. 


NEW  BALLADS. 


O  liappicr  those,  who  free  from  care, 

Can  taste  the  chnrraaof  rest; 
Which  fbu'  hntd-carncd  and  coarse  thy  farC) 
Still  dwells  thy  bosom's  guesl. 

Dear  Coalen^  Street  Conleot. 

Yet  this  dawdling  nonsense  is  tatd  to  be  sung  at  one  of  our  great 
natumal  theatres,  and  is  set  bjr  "  tbe  Director  ^  the  Uudc."  We 
bUme  the  maDager  who  can  lead  bis  hoase  to  the  airtbor^  we  ^tjr 
the  director  of  (he  mnsio  conpeUed  (o  set  such  stuff,  but  we  lament, 
as  thoroughly  bs  we  despise  the  pablic  taste,  which  can  endure  the 
repetition  of  lliis  wretched  trash  and  call  it  opera.  Tlie  raosic  is 
about  as  good  as  the  poetry. 

They  tempt  me  not  is  aUo  a  dramatic  soag  and  risea  a  little  above 
those  we  have  quoted,  inasmuch  as  the  words  are  not  stark  nonsense 
like  "Dear  (two  shilling)  Coiilcnl"  and  the  music  has  more  air, 
more  pretension,  and  less  perlJiess,  (though  quite  as  much  a&iMila- 
tion)  as  The  Russian  Maideiis  (one  shilling  and  sixpenny)  So»g- 

Sweet  is  the  balmy  eveniag  hoar,  is  sentimental  and  really  pretty, 
Mit.  M'AlDEDrE,  however,  lies  under  some  obligations  to  memory, 
probably  without  knowing  it — for  two  or  three  of  the  passages 
adapted  to  whole  lines,  are  almost  note  ibr  note  from  Mb.  CtiARLBs 
Smith's  well-known  air,  O  soft^  ileep  my  baby  boy"  but  such 
resemblances  ore  now  too  common  to  call  for  any  severity.  The 
troth  is,  this  style  of  ballad  writing  (the  simplest  order  of  mdody}  is 
ahansted,  and  the  composer  who  seeks  to  produce  a  song  of  this 
Idnd,  will  be  sura  to  stnmble  npoit  old  passages,  in  which  numbers 
ar«  entitled  to  claim  the  same  sort  of  Gopfrighl. 


JIaisan  Ihc  Brax,  em  AraUae  Lmx  Song;  eompoied  by  Jama 

Clarke.    London.    Clcmenliand  Co. 
The  Rose  of /IJfeclion  ;  ilic  Music  h;j  Sir  John  Slnensoii.  LoDdon. 

Summer,  composed  6y  Sir  John  Slrcenson.    Lonilon.  Power. 

Jkadsighcd  o'er  the  Bud,composcd  by  Richard  Sliarp.  York.  Knap* 
Ion,  White,  and  Knapton. 

Deep  in  my  soul,-  the  Music  by  George  Vincent  Duval,  Esq*  Lon- 
don. Power. 

A  teamd  Cantonet,  "Ai  through  Ufa's  early  peUfit  we  rove/  composed 
byJ.CtXfbm.   London.  ClementiandCo. 

TboB  ballads  are  of  a  liigheronler  llian  out  foimra  batch— fintai 
comiag  from  per«His  of  more  ettablished  reputation,  and  Kcoodlj, 
in  point  of  intrineic  merit. 

Hassan  the  Braze  (approprialely  dedicated  to  Captain  Lyon)  is  a 
spirited  air,  but  Ibcrc  la  a  sad  inattrnlion  (o  accent  almost  ihrougb- 
out;  e.  g.  "Behold  mu  uilh  sabre  neic-sharpencd  cmd  bright." 
The  emphatic  notes,  though  in  the  ncak  parts  of  the  measure,  are  so 
disposed  io  point  of  duration  as  to  throw  the  force  on  the  words 
printed  in  italics,  and  the  same  bad  effect  is  lo  observed  in  various 

Sin  John  Stevenson's  two  ballads  do  not  sustain  his  former 
celebriljr.    The  music  of  The  Rase  of  Affectiou  is  just  pretty,  and 
■carcelj  more,  while  the  words  aic  very  weak  indeed — to  wit: 
Jliepromiie  yon  gave  me  can  nererdepart. 

Its  memory  shall  linger  behind ; 
And  e'en  the  life-pulse  mnst  oraie  in  my  liwt» 
Em  ilt  toft  hues  tbuSl  Roto  ficanmy  tnmd* 
The  noiuense  which  is  now  set  to  music  leolly  calls  foi  the  se- 
verest castigation.    Occasional  folly  could  be  borne,  but  that  our 
most  popular  composers  should  lend  their  genius  to  the  illuslration 
of  such  pitiful  puling  as  this  song  contains  is  really  loo  much.  Of 
the  ballads  that  come  before  us  about  one-fourth  are  downright  non- 
■ense ;  two  other  fourths  are  wane  than  nonsense,  becaoae  they  As- 
sociate what  novel-reading  Misses  call  seatiment  and  sensibOity, 


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NEW  BALLiDS. 


517 


iTkdi their  paltry  rbymes.  Tliiis  music  is  maJc  to  minislct  to  the 
enervation  and  llie  depravation  loo  of  the  iinderEtaDding  and  the 
heari.  If  we  find  a  sighing,  djing  snain,  or  a  romanccful  damsel 
"  wbiiiing  out  sjllables  of  dolour,"  we  say  poor  thing!  and  lay 
the  tUHUCDse  by.  It  is  barmten,  because  it  has  no  streiiglh  to  ctanl 
into  uotice.  But  the  case  is  different  vhen  we  find  mea  whose  names 
are  paaspotls  to  ptUilicity,  cnitching  these  ricketly  bantlings  into  the 
general  walks.  They  ought  not,  cilhcr  in  consideration  to  tbeii  owa 
dignity  or  to  the  dignity  of  science,  to  lend  their  sanction  to  what 
roust  not  only  lower  the  estimation  of  both,  but  corrupt  whom  thdr 
,  music  delights.  The  moral  power  and  beauty  of  art  ought  uCTei  to 
be  forgotten  by  artists. 

Summer  is  iiiicridcd  to  be  picturesque  music,  and  it  is  therefore 
light,  airy,  and  full  of  motion.  IIaydn  did  not  add  much  to  his 
repulatiori  liy  "l//c  Seasons,"  and  at  humble  distance  follons  Sin 
JuKN-  Stevenson.  Summer,  however,  is  healthy  and  CDiivcoing — 
there  is  sun  and  shade,  verdant  hills  and  woods,  meadows  and  herds; 
all  of  whicb  «a  dearly  love.  Roie  of  Jffeciim  is  ft' poor,  dwin- 
dled, good-roE-nothiag  flower— typical  only  of  (be  sickly  and  alcken- 
ing  apjKtile  mis'called  lore,  and  of  the  peijuties  at  which  Jove 
(and  we)  are  disposed  to  lang^  moat  bearUly. 

Ua.  Sharp's  ballad  is  a  little  above  these,  and-is  a  pleasing  amg 
upon  the  whole. 

Tbe  poetry  of  Deep  in  my  soul  is.  from  LoBS  Bykov,  and  from 
Loan  Br  noN  in  hie  best  mood.  Tbe  symphony  is  promising — but 
the  first  phrase,*  being  that  of  Ma.  Hobslbv's  lately  published  and 
trolj'  classical  canzonet  "  Laura,"  called  lo  our  recollection  the  song 
of  that  composer  npon  the  same  words  as  Mo.  Dvyal's.  Mr.  D. 
lias  given  to  his  a  regular  and  not  un pleasing  or  inexpressive  melody, 
Mr.  H.  has  treated  the  verses  in  as  poelical  a  way  as  the  poet  him- 
self, and  his  composition  is  rich  in  transition,  moduhlion,  and  the 
finest  espression.  Thus  Ma.  Duval's  production  fails  by  compa- 
rison, although  a  song  of  feeling  and  merit.  But  singers  who  could 
lay  no  pretension  (o  ths  petfondance  of  Ma.  Hosslst's  high  and 
impairianate  sceut  will  find  a  substitute  in  Hb.  Ovval's  air, 
whioh  no  lady  who  wishes  to  add  a  song  upon  such  words  to  her 
collection}  needs  feartoaUempt. 

•  Hils  howem  la  Mmmon  properly,  for  in  looking  over  Ma.  Clemuii's 
Appendix  we  fotmd  (be  srok  phrase  in  a  lesson. 


518 


NEW  BALLADS. 


Mr.  Clifton's  canzonet  is  imaginnlive,  anU  considerably  aboTC 
tbe  usqbI  level.  The  words  arc  not  honcver  free  from  the  commoa 
charge  of  want  of  streugUi,  botli  in  ttioiiglit  and  npression.  But 
the  air  and  general  style  of  (be  composilion  will  in  a  gqod  measure 
be  thougbt  to  redeem  tbb  partial  defect,  and  the  kindlj  nurtaie  of 
the  mndclan  hir;  give  pnlonged  existence  to  the  o&ping  of  the 
poet. 


Ftmlaiia  for  the  Flute  and  Piano  Forte,  in  wMck  are  iatrodueed  the 
fatorite  Airs  of  La  d  darem  la  mono  and  Ros/ia  Castle,  mth  an  la- 
Iroduetion  and  BoUero,  composed  hi/  Charles  Nicholson.  For  the 
Piano  Forte  Accompaniment  to  this  Piece  the  Author  is  indited  to 
Mr.  J.  C.  Qijlon.—No.  1.    London,    dementi  and  Co. 

J^aOanaforlhe  ^lOe aai Piaio FortettHTthiiA  UtntTodactdafawriU 
Imh  Melody,  tmpoitd  ly  (Katies  NMiotton.  For  lAe  Piano 
FbTta  Aceon^ca^mai  fo  tA^'i^ee  tie  Author  is  indebted  to  Mr. 
N,  C.  Boeba. — JVo.  S.  London.  Clementi  and  Co. 


Tbett  dnets  are  very  sweet  and  excellent,  thougb  perbsptlbey  oaght 
in  fltrictneas  to  be  called  flute  soloa,  with  an  accompaniment  for  tbe 
piano  forte,  for tbeslructurc  orihcm  is  niBnifeitlysncliu  togivethe 
flate ttsfoUeit iiray.  Thcflnte-part is  lioiTerer admirably  wrtUen, with 
great  knowledge  of  the  beantics  of  tlic  inElrument,  great  tasle  for  mclo- 
dji  great  Tiyacity  and  frcling.  We  prefer  the  first,  of  which  the  bol- 
lero  is  exquisite;  fant  llic  eccond  has  strong  recommendations,  both 
from  the  theme,  "  T/ic  last  Rose  of  Summer,"  and  (he  spirit  of  the 
introduction  and  coda.  They  form  a.  capital  addition  lo  the  library 
of  domestic  masic,  and  we  hopi;  Ma.  Nici[Olson  will  continue 
what  he  has  bo  EuccesBfuIly  begun.  Perhaps  a  little  more  should  be 
given  to  the  piano  forte  part,  to  render  the  Numbers  equally  accept- 
able to  the  piantoi   We  are  In  all  cues  fot  a  limited  monarchy. 


Digiiized  by  Google 


Sir  Duels,  for  Two  Fliites,  composed  in  an  easy  though  bijUioM  style  ; 
by  W,  Gabrielaki,  (comprised  in  two  booh  )  Op.  SS.  Loniloiu 
Clemniti  and  Co. 


A  short  time  lince  a  gentlemui  became  the  purchaser  of  tt  fiddle 
at  a  nle  in  Loadoay  fof  a  compaiaiifel/  incomidenible  sam,  which ' 
he  Goneetved  to  be  an  intbament  of  a  yery  snperkii  cast.  He  has- 
tens witti  Itis  bargain  to  a  brollier  amnlcar  of  Rc^nowtedgcd  judg- 
ment and  tellshiiD  that  behas  brought  him  a  violin  to  try.  The  con- 
noisBeur  snatches  it  up,  puts  it  in  tunc,  runs  through  its  tones  from 
top  to  bottom,  plajs  on  in  silent  oslonishment  and  estacy  at  ils 
qualities,  and  at  length,  lajing  it  down,  he  makes  bU  friend  a  pro- 
found bow  of  deference  ami  acknoirledgmenl,  and  says  with  a  gra- 
vity expiesHVe  of  his  deep  veneration,  "Sir,  this  is  a  fiddle."  In 
HkemBoarwa  sent  fbra  ilMti!-pta;cr,  an  excellent  performer  and  a 
good  jmlgv^  vro  aaked  him  lo  over  the^c  compnsitions — at  the 
(dMCctf  thaSnthoexdaimud,  with  impenetrable  dignity,  "this  b  a 
thnt-" 

We  have  haanlMa.  Oabriblikt  tamed  "thefcing^of  tiia  mlten 
Sot  the  fiuto;"  and  in  trnth  these  dn^  entitle  Mm  to  empire.  In 

point  of  conlinuooe  melody  they  surpass  any  compositions  we  ever 
remember  to  liare  mrt  witi),  for  they  never  flag  for  an  instant. 
On  the  contrary,  there  in  a  pregnancy  of  fancy  that  goes  on  accumu- 
lating images  and  animittiun.  Tlic  modulation  is  cnsy,  yet  fre- 
quently producing  most  unexpected  cffecls,  which  are  heightened  by 
the  casual  gleams  ofdelighlful  little  bits  tlmt  shine  otit  like  spots  in  a 
hiiidskip  illuminated  by  a  brttliant  sun.  One  part  can  scarcely  be 
sail]  lo  preiiominate  over  the  other,  the  cxccntion  being  so  equally 
alliitled;  and  they  are  real  parts  abounding  in  melody,  yet  as  fre«' 
quently  in  sweet  contrast  as  in  pleasing  imitation.  We  bavo  said 
that  tliesa  duets  never  langaisb,  dot  are  th^  eier  ralgai  or  common 
place.  If  the  olyect  of  mnuc  be  "the  rising  and  alnking  of  the 
pasiiom,  the  caslfog  Mft  or  noble  hinti  into  the  soul,"  (hb  folly  ac- 
•ompliihei  its  purpose,  for  we  never  heard  notes  that  Inspired  a 
more  raptdlj  kiodliog  train  of  emolUms.   We  cannot  indeed  spcuk 

VOL.  111.  NO.  XII.  S  X 


530  eiBHIEUKY's  DUETS. 

more  bigfal;  ofthuM  doels  than  we  Ifaiak — thtj  are  imaginatire  and 
BoicDtific,  jet  nataral,  flmring,  and  fall  of  melody,  whicli  wo  wj,  m 
bath  been  laid  of  Ibe  fiddle  and  the  doet^ls  mtuic 


The  cekhrnlril  Vr.rialions  upon  a  Thema  by  Roile-i  onginalli/  cnmposnt 
for  the  Violin,  ailaplid  far  llir  Voirr,  anil  f:ii>ig  TSilh  extraordinnry 
effect  at  Paris  6y  Mailamr,  CaUilmsi,  and  now  arranged  for  the  Piano 
forte.    London.    For  llic  Regent's  Harmonic  Institution. 

We  miut  plead  guilty  to  the  charge  before  il  be  made,  that  ve  ban; 
taken  tbit  subject  not  for  its  own  meriU,  for  »e  parfuMe  no  examEmi- 
lion  of  Mr.  Eodk'i  compotition,  but  sncb  aa  may  aem  to  introduce 
MmB  general  remarks  npon  anch  attempts  as  tbat  made  by  Mauame 
Cata  ii A Ni— certainly  with  succeaa, — and  lorae  particular  obgerra- 
tions  upon  the  manner  of  that  most  extraordinary  singer.  Our 
readers  have  all  proljably  thought  that  we  said  enough  in  our  lait 
Number  of  her  merits;  and  Ibose  who  have  not  Ibe  same  natural 
and  perhaps  over-wrought  sensibility  to  music  and  the  same  mate- 
rials ivlicreon  to  form  a  judgment  that  we  have — those,  we  say,  who 
do  not  bring  the  same  intense  observation  and  the  same  stimulus 
into  the  []iti:slion  as  we  must  necessarily  bring,  may  have  tbougfal, 
that  our  estimate  of  her  vast  powers  borders  upon  extravagant  ttdmi* 
ration.  Thus,  though  nothing  more  u  doe  firom  us  to  Madams  Ca- 
TAiiAKi,  aometbing  may  be  due  to  art,  in  its  more  acientifio  and 
unirorm  cxerdse. 

When  Majdaieb  Catalani  was  ui  this  country  before,  if  she  did 
notabsolntely  introduce,  she  at  least  brought  into  fashion  the  sing- 
ing variations  upnn  popular  airs.  "  0  dolceameailo"  and  "Net  cor 
piu  imn  mi  ecnto"  were  her  favorite  songs  of  this  cast ;  since  which 
tlie  practice  lias  been  as  universally  folloireO  by  our  female  singers 
ns  tlicir  l:ilen(s  would  permit. 

'i'lie  objections  to  this  employment  of  the  voice  are  strong  and 
obvious.  The  natural  and  proper  object  of  singing  is  to  give  to 
notes  a  definite  meaning  by  tilt  combination  of  words.  Of  coone  in 
this  is  implied  the  postulate,  tbat  Ibe  mask  conforms  lo  the  aentimeat, 


DigilEzedby  C 


snil  expresses  or  is  in  coincidence  with  and  even  esalfs  the  emnlions 
which  the  iroidi  aie  intended  to  excite,  ir  the  expreision  of  the 
mueic  conliadic(«  the  sense  of  the  language  appended  to  it,  then  the 
powers  of  the  human  voice  are  not  onlj  employed  in  vain,  but  per- 
Tcrfed.  That  sapeTioritjr  wbi<A  it  enjoyB  orei  an  instrument  ii  lost ; 
ithunotiiing  indeed  left  of  saperiOTilj  but  thi^of  tone,  if  there  be 
any  such-  The  force  of  (hia  objection  to  airs  with  variallons  can 
never  be  abated,  becauee  if  the  dc«irc  to  slien  nliat  the  voice  or  the 
imagination  can  elTect,  be  pleaded  in  their  defence,  the  answer  ii 
obvious — if  tlie  exercise  of  such  powers  be  desirable,  Ihej  maj 
always  be  shewn  in  Ibe  display  of  some  passion  which  allows  (as  in 
bmvuras  of  high-wrought  oxprestion]  of  the  adoption  of  passages 
calculated  lo  call  them  into  action.  Such  an  employment  of  any 
reach  of  execution  is  legitimate  and  sensible — the  application  to  son- 
timenls  not  in  coincidence  with  the  ezpieuioa  is  unscientific  and 
unpliilosophical,  while  it  reduces  the  estiraation  E»tk  of  the  titigeT's 
judgment  and  executive  ability,  becante  the  mind  and  Que  heart 
rcrolt  against  (heiUuMons  Dfiheear. 

But  it  bu  happened  unfiHtnoatelyi  that  geniua  is  alwsjs  on  the 
stretch  after  effects  that  lie  beyond  the  leach  of  inferior  powen,  as 
well  as  alXer  the  excitation  of  wonder;  and  to  this  feeling  we  may 
trace  the  introduction  of  such  anomalous  attempts,  as  the  air  with 
variations  by  the  human  voice.  Great  actresses  have  played  IlaniM 
and  Sir  Harry  WUdair — but  such  deviations  never  pass  willi  impu- 
nity.   We  do  iiol  moan  ta  ci;i.-i:,  as  lo  degrees,  llie  dtvinlicm  ol"  vot:al 

more  violent  and  ccccniric  departures  from  thccommon  sense  of  pro- 
priety !  but  tliey  are  of  tlie  same  nature.  They  are  attempts  upon 
the  vulgar  appetite  for  novelty  and  surprize,  ratlicr  llian  llie  appeals 
which  high  icienco  ought  to  make  to  high  intellect  and  high  feeling. 
They  are,  in  short,  artifices  unworthy  the  admirable  faculties  of 
those  who  atone  can  resort  to  aucfa  Circcan  enchantmenl^  which 
bow  the  nnderatauding  to  the  dominion  of  sense — thus  ptacuig  the 
bondmaid  of  art  upon  the  tlirone  of  art. 

Tho  theme  and  variations  t>cfore  us  ace  powerfully  exprci^sivc — 
the  former  is  exquisitely  canlabile  and  melodious.  It  is  applicable 
to  any  of  the  more  teniier  itassions,  and  if  we  recollect  the  general 
liearing  of  the  Italian  poetry  Madame  Catalami  applied,  the 
worilf  wi^.  ligoificant  of  love  aud  ibe  solioititdei  of  a  more  ilis- 
St  2 


Digilized  by  Coogle 


53S 


RODB's  TABIATiONS. 


Iroctiog  kind,  Ibat  seldom  fail  lo  cxcruciale  Ibe  boMim  tbal  is  really 
SBiceptiUe  of  rirang  altachronl.  The.  pamgM  u  tte  variiUioiH 
(wbiah  are  only  ttra)  are  ceitauly  coMponndad  trf  almoet  cvny 
■{wciea  of  diTtBiou  (bet  could  be  comprehended  in  so  mult  b  space. 
Tberc  arc  shakes  on  successive  inleirali,  ascending  nod  deaceeding 
triplels  and  quadruplets,  arpcggie,  the  desoeotof  twoeatfRDCtere^— 
roulades,  legato  and  staccato  paisagca,  and  SnaUfBTolBtac^ temi- 
toncs  through  eight  intcivals  ascending  and  gerenteen  descending, 
wUb  a  vaiietjr  of  time,  force,  and  expresgion,  that  is  calculated  (o  call 
every  faculty  and  every  actiuirenmitof  (be moat  eminently  gtfled  per- 
former into  oclian.  The  compass  alono  is  nothing  hcyotxl  the  com- 
mon reach — it  ranges  from  A  bclotv  to  B  nbovc — two  octaves  and 
one  note. 

In  our  former  account  of  Madame  Catai^ni's  performance  we 
bB?e  said  that  sbe  is  to  be  jqdged  only  by  fgeti$.  This  is  sUicUy 
tine.  Ska«bit»tsiio  model  fin conimoa  orevenuneonimea  pmreis. 
She  abandons  and  disdains  the  rnles  of  art.  She  becomes  the  crea- 
Idtb  of  passion,  not  the  ilcmonstrator  of  the  laws  of  science.  She 
tiamples  upon  impossibilities,  as  we  have  said  of  her  in  out  memoir 
of  CAKPonESB,  when  we  did  not  contemplate  the  article  we  are  at 
present  engaged  upon.  She  puts  every  tiling  lo  the  risk,  and  nbe- 
ther  she  has  or  has  not  surpassed  the  one  step  bclivccn  the  sultlimc  and 
the  ridiculous,  will  be  often  the  subject  of  pusilivc  disagreement  be- 
tween the  calm  and  the  enthusiastic  admirer  uf  art.  The  force  of 
her  performance  must  too  be  reduced  by  distance  to  be  endued. 
Again  her  exquisite  lineaments  of  feature  and  of  form  are  continually 
aiding  the  lavishraent  of  her  prodigious  intensity,  volume,  lidi- 
iien>  and  ezpteuion  of  tone.  Thus  tbe  mind  mnst  be  aUared  from 
tbelawBof  BdenGe,&iid  thus  werepe^MASAiiH  Catalaxi  affisrdi 
no  flrffnT'*  for  any  olhbr  living  creature.  Her  sin^g  may  be 
tnly  described  as  the  pccnUar  employment  of  peculiar  powers. 

Hence  it  will  follow  that  Mauaub  Catalani,  though  tlie  object 
of  iiniversal  wonder,  will  not  always  confer  even  pleasure,  surely  not 
thai "  bome-feltdelight — thatsobercerlaintyof  wnliing bliss,"  which 
attends  on  the  exquisite  tone,  grace,  and  facility  of  Mrs.  Sat.iion. 
SiOMOBA  CoHni  was  a  miniature  copy  of  Madaue  Catalaici. 
Tbe  transcript  was  exact,  but  finisb  was  substituted  for  force.  Tbe 
magaiiade  bung  mntntded,  the  Dsionishmrat  was  diminislted.  alto ; 
and  ve  viU  venton  toaffino,  that  Ihii  beautifiil  ringer  was  not  ip* 


rope's  variations. 


[irecialcd  in  Englaad  Rs  she  ought  to  have  been  for  her  exquisite 
accuracy  of  intonalion  aod  poliih  of  execntloR,  becMiie  what  she 
(lid  TiHs  Rdapted  to  poirera  which  she  did  not  pow^>  rather  tliDii  to 
her  natural  cndowmentB  and  accompliahmenls.  MrM  Corhi  did 
not  howem  iadnlge  eitber  the  llceiue  or  the  fancy  to  tfbfcb  Ma- 
dame Catalaxi  gives  the  rein.  We  quote  this  example  merelj' 
to  prove  that  her  facaltiei  and  attninmentg  cannot  and  onght  not  to 
become  the  subject  of  imitation,  any  more  than  they  can  be  mads  the 
apology  for  extmvat'^nce,  which  ia  any  other  iudividual  less  boDn- 
tifuUy  furnished  with  preternatural  beauty,  botli  vocally  and  person- 
ally, must  lead  to  disappointment  if  not  disgust. 

But,  reader,  pray  be  careful  to  understand  that  we  do  not  mean  to 
obliterate  a  single  trace  uf  our  praise  of  this  extraordinary  creature. 
She  stands  alone.    There  is— there  never  was— but  one  Catalani. 

Some  injudicious  ndmirerof  this  lady  has  published,  in  the  En- 
glish newspapers,  an  inflated  account  of  her  foreign  travels,  per- 
formances, reception  in  courts  and  cities,  the  homage  and  the  pre- 
sents she  has  received  from  Princes,  and  the  charity  she  has  extended 
to  the  onfortunate.  Thii  has  excited  much  conversation  and  some 
controversy.  The  Editor  of  L'Efoile,  a  French  newspaper,  has  In- 
deed given  a  formal  contradiction  to  that  part  of  the  acconnt  which 
rctalcB  to  her  atchicvcments  in  the  French  Capital,  in  the  following 

Trtmslation. — "  She  asserts  that  the  King  of  France  gave  her  only 
175,000  franks  annually  for  the  direction  of  the  Italian  theatre  nt 
Paris.  Madaue  Catalali  appears  to  have  for^tlcn  that  her 
theatrical  year  include  only  ween  months;  she  might,  therefore, 
travel  aboot  Europe  during  the  other  five,  when  she  would  not  have 
topay  herperformcra.  Siie  accordingly  received  from  themunificcncc 
of  his  Majesty  a  subsidy  orS5,000  francs  permonlh,  instead  of  14,000 
as  she  has  alleged. 

"  Hadaxb  CATAt aki  stales,  that  she  bad  engaged  M.  M.  Paer 
and  Spoatinl  to  direct  the  theatre.  H.  Bpontini,  whose  brilliant 
management  preceded  her's,  was  not  engaged  by  M.  and  Madame 
Talabrigoe.  It  It  very  -well  known  tiiat  their  foctgtnm  was  the 
celebrated  S(g»erPHcfl((^  to  justly  ■omamed  ihiPndoRofMtaie. 

"  Uasahe  Catalan!  gravely  maintains,  that  she  had  collected, 
in  I^iria,  the  first  lu^an  ungenr,  male  mdfimak.  We  will  envmerale 
them :— Mcatdamn  Dickons,  Fearon,  andTeitris,  EngSsH  teomai  i 


Digilized  by  Google 


Hadune  GhEUBet,  a  Rmck  rcoman  ,■  Madame  BeyToUer,  a  Otrmm  ; 

and,  BR  a  tenor  Kinger,  the  unfortunsle  violin  performer,  Rosqndlul 
"  The  management  of  tbe  Paris  opera  faaviog  become  irkHNoe  to 
Madame  Catalan),  she  stales,  lliat  slie  determined  lo  renoanoeit. 
Now  we  affirm,  lliat  Ibe  privilegd  vas  wiUidrmn  from  lier,  became 
slic  did  not  fulfil  her  duty  sBtia&ctorily ;  and  because,  instead  of 
having,  as  now  bavet  the  first  Italian  opera  in  Europe,  uodei  her 
maoagemeot  we  had  neither  compunj  nor  orchettra." 

This  unfortnoaleljr  EqoareB,  in  some  measure,  with  the  detireofiu- 
piemacj  ia  her  engagements,  wliich  she  is  supposed  to  act  up  in  thia 
conntiy.  We  are  not  among  those  who  envy  this  lady.  On  the 
contmry,  we  ore  amongst  her  warmest,  her  sincerest  admiren ;  and 
happyahalt  vebe  if  thisme^her  e;e,and  operates  to  oanvuwehet 
of  the  judgment  of  asierting  her  ovn  pUce  by  tbe  native  strength  of 
her  talent,  without  aiming  at  the  exclusion  or  the  suppression  of 
others.  We  believe  Madaub  Catalani  to  be  exceedingly  amiable 
in  dispDsilioD,  and  if  she  has  ever  been  justly  accused  of  over-rating 
her  own  merits,  it  proliably  proceeds  from  llie  report  of  swcli  injudi- 
cious flatterers  as  those  wlio  published  the  account  to  wliicli  wc  have 
just  alluded.  We  profess  lo  know  soinctliiiig  of  tlic  [labils  of  thinking 
indulged  by  the  English  public.  They  ate  like  the  spirit  in  Macbeth, 
they  "  will  not  be  Commanded but  no  nation  is  so  easily  allared 
and  won  and  led  by  conciliation.  Madame  Catalani  mutt 
"  stoop  to  conquer"  here ;  and  that  she  is  inclined  to  doso,  weihaU 
shew  by  an  ancedote  which  we  copy  Stam  (he  public  prints,  with 
which  we  shall  conclude.  A  concert  was  latdy  given  by  Hx. 
XiODBtt,  of  Batb,  a  profenor  of  the  very  first  distinction  for  bis  taleat 
as  a  Yioliniit  and  leader.  Madakie  Catai<ani  snog  under  an 
eDgagemcntatalai^pricc.  Theereniogwascompletely  sdixxnfnl; 
At  the  close  of  the  basinets  Madamk  Catalahi  gave  up  tbe  sum 
•be  had  Btipnlatcd  for,  as  a  nurfc  of  her  esteem  for  the  ability  and 
general  desert  of  the  worthy  conductor. 


THIRD  VOLUME  OP  THE  MUSICAL  MAGAZINE. 


DigiUzed  by  Google 


INDEX. 


or  Varifsci^r,  24,  m,  2SI 
I  of  SlnjlBK.  9L 


EDCpnriieciFi]!  of  Edgllih  Muiicd  TalcDI,  Mccnn.m 

rri  Ksyicii.sia 

EnKliih  Concrrt,  ££1  Kahkr,  lili  VariAlUini  on  Dl  Tull  pilpid. 


Di,  MiDuci.  IIS:  hill 


Fiill.  bU  Monlncllcr,  iSI 
Furmiilbniiribc  Vdi».S& 

Gakricltki,  bit  Duelt,  MS  t-mtKy 

c:.]Qppi,ll  Logler, 

C.-udlni^r,  Mi  Judab,  m,  Lorcnio 

(iitnarlni,  SS  Ijili.  4, 
(tmilc           her  Tbrougb  ibc  Forcsl  biie    LdJII.  3] 

1  pine.  373,  asi 
Cfniinliiiii.44a 


L»^lUriiard),bii  Urir  HarpaftifHl  Erig, 

Leo,  jll 


Mac  Uonlie,  bit  VariilloDi  so  he  Omn 
Volngc,  M6j  bU  Sweet  ig  lliebalm;  Eta- 


.  nCj  hi<  How  MsdR(H,U3 
I  came  }aii,  111        MueJieJ,  bhi  Mc(l 
MsniBerd  (Lord). 


yrifilK,  lis 

!nO,liltSoBg«,m 


MelRiiKiine,  Direclioii)  for  ming,  SOS 

hUI>nnii<rcUlicrlbneiiIii,uSvlH>|jDiii 
ei(U^«},3»  BB  My  Ledfinc  i>  on  Uw  culdGraiuid.aU 


lii  O  Dlnna 


RcTcnee  Timothui 

HHill.Ic.44a 

R i Flu rd>.  tail  Glee. 


!•.  <INSj  liii  Canpoalilani,  UQ  Rodc'i  Thtrnt. 

Ii  DuFli  on  Piu  Jolce  c  (ilaclile  and     Roml  de  Brgni' 


ind  Prairreti  of  Spiniil 
.io(Dii.id),aei 


Brinil  (Uidaine),  3S! 
.&93i  bii  LrnGjiiiaLnd 


No.  ir,  iSa      Kavedioi>TDiai>D,hii  Dnnnnlic  Fairy  Scene, 
NoiiF,  )ii>' Gr>nd°  SuniU  wid  Military  Air,    Rugirl,  IDI 

NlihuliDu.m;  his  FsnlaiLu,  MS  Siljnii.klS 

NiLki,  hi,  lororin  me  O  delicious  Kin,  111     S.dnon  tMte.)  i9.Eg.  63,877.  S87.  3B3.4I0. 

NiiD  plu  Andral',  MS        '  Snni^Ba 

Noiello'i  M°i>r|-i  Muaei,  ^  mi  Ilia  Si}nelle,4fi3 

Duel!  from  FmLchoD,  311  Sc«rl.lli.  SB 

Obiluar^.JQl  Sebrighl  (Sir  John),  rrcoomcodi  Uiss  Wil- 

O'NeII  (Miii),aa  ua  in  Mr.  Welih.XOa 

Operu.  O'Keere'i  ud  Dibdin'i,  160;  on    Rrnei,  Leilerof,  SI 

the  CoailruetUiii  af,  l7Tj  Abiurdilieg  in.     Sharp,  hii  Theme,  VIUi  Vaildiom,  5091  bis 

ua  1  had  tiEbed  o'er  the  Bud,  US 

Operallc  AIn,  Lj4.  ShleM.hli  Loic  orsimpliciiv,  UO 

OrotorlH  la  Lent,  2L.  ffil  Slddoni  (MriQ,  86.  3U 
Organ.  Acconiirof,  3S!5t  Hjdraulie,  SSi    Sknrrnll,  Ua 

PneDDalic.  SlQi  Diicrelion  in  i«  uk,  Skelch  ofMuilc  in  London,  m 

Origin  of  SeolcliMuiie,  IS.SOl  Soiart  (Sir  George),  eg,  m.  39S 

PacciDiil.  S  Snarl  (Henry),  hli  Mcltonome,  303 

Pncr.  SL  Snllb  (Dr.  Adim),  63 

Paiiiello,  a  Smith,  his  O  SmUe  nnt  thns.  319 

Paleilrina,  g3i9g,  503  Sob,  hit  Ihe  Nlghllngaje,  aJ9;  hli  Smnlih 

Perry,  his  faigh-boro  Sonl.  L19  Melodies.  MI 

PhUbirniDnir  SoeleIj,3H»l  Gnond  an  Alarm,  U! 

Philip  II.  m  Spaeisb  Melodies. 47T 
PhilDHipby  nf  Muiicil  Com  posi  lion,  No.4,  Spnhr.3£3 

ms  .SlelTiDl.^ 

PlteiDi.37.41  Slejiheni  (Mis.).  5B,m  879.  387.  399,  jfig 

Pkcci.  SIS  Sle.ensun,  hii  Three  Ilmei  three.  U^j  oh, 

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